Fir©-Fi:®cf 


■  '  ( 

A 

Descriptive  Catalogue 


OF  THE 

Powers’ Art  Gallery,. 

ROCHESTER,  N.  Y,, 


WITH  inSTTHOIDTJCTIOH,  ETO., 


JAMES  DELAFIELD  TRENOR. 


ROCHESTER,  K  Y. 

E.  R.  ANDREWS,  PRINTER  AND  BOOKBINDER,  1  AQUEDUCT  STREET, 

1886. 


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The  POWERS’  ART  GALLERY  was  establisiied,  and  has 
been  maintained,  with  a  view  to  creating  and  fostering  a 
love  of  art,  in  its  higher  forms,  among  the  inhabitants  of  Roch¬ 
ester,  and  as  far  beyond  the  city  as  its  influence  might  eventually 
reach.  The  steadily  increasing  number  of  visitors  to  the  Gallery 
favors  the  assumption  that  the  end  proposed  has,  in  a  measure, 
already  been  attained. 

Although  there  are  a  certain  number  of  original  pictures  b}^  old 
masters,  still,  the  greatest  of  these  are  necessarily  represented  by 
r.  -f  copies  only.  But  these  copies  are,  for  the  most  part,  the  best  that 
could  be  procured,  and  are  reproductions  of  world-renowned  paint- 
■  ^  ings.  A  brief  history  of  the  painters  themselves  will  be  found  in 
\  the  introductory  remarks. 

As  to  the  works  of  modern  artists  represented  in  the  Gallery 
and  of  whom  an  alphabetical  list  will  be  found  appended,  the 

body  of  the  Catalogue  will,  it  is  hoped,  supply  the  necessary 

J 

^  v  information.  Where  none  is  given,  it  is  for  the  reason  that  it 
was  not  obtainable. 


^  ' 


LiIST  op  fflODEI^N  ]?AIMIIIBI^S 


REPRESENTED  IN  THE  POWERS’  ART  GALLERY. 


Achenbach,  _ 

. .  17 

Adam, . . 

. .  48 

Adan, . 

.  250 

Ahmehru, . 

. 494 

Apel, . - 

_ 461 

Antonella, . 

. 278 

Aranda, _ _ 

.  363 

Artz,  . . 

. 457 

Arnoux, . .  _ 

. 163 

Ascenzi, . .  - 

. .  455 

Azzola,  . 

. .  570 

Ballavoine, _ 

. . .  261 

Bang,  . . . 

_  53 

Banti, _ _ 

. .  271 

Beauquesne, . 

. 5,  6 

Beard,  W.  H., _ 

_ 98,  265 

Becker, . . 

. .  9 

Benedicter, . 

. .  233 

Benluria, _ 

. 462 

Berlin,  . .  . . 

. 288 

Beyschlag,  - . . 

. 85,  95 

Bischof, . . 

.  . 203 

Blume, . 

. .  38 

Bompia, . . 

.  273 

Bonheur,  . 

_ 308,  809 

Bontibonne, _ 

. .  150 

Boughton,  . . 

.  245 

Bouguereau, _ 

. .  11 

Bourlard,  . 

.  343 

Breling,  . 

. .  71 

Bridgman, _ 

. .  366 

Brown,  J.  G., . 

....  247,  254 

Brozik, _ 

. . .  367 

Bruck-Lajos, . 

.  21 

Brunts,  . . . 

. 195,  344 

Boucher, _ 

. .  181 

Bunner, _ 

Burges, . . 

_ 281 

Cabanel . . 

. .  477' 

Caille,  . . . 

_ _ _  69 

Cancel,  . . . 

.  196 

Cap, _ _ _ 

. . .  279 

Carboni,  . . 

. 125—146 

Carolius, . 

. 227 

Chapin, . . 

. 456 

Chenn, _ _ 

_  161 

Chierici, _ 

---175,  324,  325 

Chiavici,  . . 

.  178 

Col,  . . . 

. . .  101 

Comte, _ 

. .  160 

Constant, . 

. .  49 

COOMANS, . 

_  128,  257 

Corot, _ 

_ 359 

CORRIDINI, _ 

. . 459 

CORRODI, _ 

. . 506-512 

Costa, . . 

_ 185,  186 

Creti, . . 

. 104^125 

Crosio, . 

. 240 

Daubigny, _ 

. .  239 

De  Bager, . 

. . . 180 

De  Bergh, . 

.  275 

DeBonfield, 

. . . 489 

De  Buel, . 

. .  2o 

Defregger, _ 

. 46,  224 

De  Gault, _ 

.  174 

Degrave, . 

. . .  243 

DeGrossi, _ 

. .  453 

De  Figlio, _ 

.  341 

De  Hageman,  . . . 

. . 25,  26 

POTTERS  ART  GALLERY. 


De  Jonghe,  O.  R., 
De  Jonghe,  G.,  ... 

Deprey, . 

Della  Valentina, 


De  Vos, . . 

Dl\z, .  236, 

Dillens, . . 78, 

Dittermann, . . 

Doll, . . 194, 

Dubufe, . 


DuPRfi,  L.  V., 
Dupre,  Jules, 


Duval, . . 

Elorriaga, . 208, 

Enneking, . -154, 


Erdmann, . 

Eroli, . 

Escosura,  . 

Eiving, . *. . . 

Falat,  . . 

Falkner, . . 

Farrer, . 491, 

Fasce, . 

Ferrare,  - . 

Ferrari,  E.,._ . . 

Ferry, . . . 

Fine;,  . . . . 

Flier. . 

Gabani,  . 

Gamla, . 

Garcia  y  ]\Iencia, . . . 


Garcia,  M.,_ . . 

Gatti, . 328, 

Gaul,  . . 

Gay,  Ed.,._ . 192. 

Geebel, . 221, 

Gerard,  . .  . . 

Gerome, . . . . 

Gillon, . . _ 

Giovannini, . . 183, 


Gonzalez,  .... 

.  42 

Greuze, . . 

_ 318,  479 

Grubas, . 

.297-307,  315,  316 

Grutzn’er, _ 

.  31 

Guaedslieg,  .. 

. 211 

Guiser, . 

.  220,  225 

Gyselinckx,  .. 

. .  24 

Hastings, _ 

.  213 

Hagborg, _ 

. . 68,  148 

Hayon,  . . 

. .  79 

Hess, . 

. 207 

Hiller, . 

.  190 

Hoff, . 

.  30 

Holbein, _ 

. . 355 

Hough, . 

. 237 

Hubner, . . 

. .  286 

Huerpoereus, 

. .  167 

Huntington,  . 

. .  66 

Jacobi, . 

. 168,  296 

Jacomen,  . . 

. 216 

Jacquet,  . 

.  43 

JiMINEZ, . 

. . 363 

Johnson,  Eastman, . 242 

Kauffmann,  -  . 

. .  95 

Kemendy, _ 

. 39,  241 

Kever, _ 

.  501 

Koiemans,  .... 

. 198,  199 

Knaus, _ 

. 87,  93,  357 

Kowalski,  . . . . 

.  89 

Kraemer, _ 

_ 159,  228,  256 

Kray, . 

.  7 

Kronberger,  . 

.  54 

Lafen, . 

.  102 

Lajos, . 

. . 372 

Laren . 

. .  162 

Lebrun, . 

. ..295,  336 

Leloir, . 

. .  64 

Lemaere, _ 

.  90 

Leman, . . 

. 100,  335 

289 

222 

317 

170 

182 

362 

158 

188 

495 

19 

232 

253 

314 

277 

262 

55 

13 

16 

454 

451 

173 

505 

452 

37 

45 

235 

50 

165 

463 

470 

259 

460 

329 

166 

287 

226 

40 

361 

83 

184 


MODERK  PAIiTTERS. 


Leonardi,  ....172,  266,  326, 

330,  351,  469,  480 

Lesrel, . 

_ 8,  217 

Linderschmit, _ 

. 368 

Lockhardt, . 

. .  473 

Lueben, . 

.15,  34,  339 

Madrazo,  R., . . 

.  10 

3Iahheuch, _ 

. .  310 

Makart, . . 

. 370 

Maltza, . . 

.  36 

Mancinelli, . . 

. 231 

Marangoni,  . . . 

...  331-334 

Max, . 88, 

91,  103,  374 

Maynard, . 

. 200 

Mazzolini,  _ 

. .  339 

McCord, . 

....75,  187 

Meissonier,  J.  C.  , .  - . 

.  67 

Menzler, . . 

...  136,  127 

Merle,  H., . 

.  52 

Meyer  van  Bremen, 

. 33,  96 

Middlebeck,  - . 

. 270 

Miralles, _ _ 

. . 373 

Molino,  . 

. . 310 

Moreau,  A., _ 

_  29 

Morel, . 

...283,  284 

Muller,  Ch.  Louis,  . 

_  149 

Munier,  - . 

. .  61 

Munkacsy, . 

. . 371 

Munsch, . 

...268,  269 

Munzel, . . 

. 164 

Palizzi, . 2 

Palmaroli,  . . 1 

Pecrus,  . 83 

Pecquezado, . 481 

Perkins,  .  171 

Perlbera, . 476,  487,  488,  497 

Perrault, .  234 

PiLTz, . . . 14.  218,  219 

PlOT, . .  5 

POLLAK, . .  _  22 

Prati, . 57 

Preuss, . . 80,  205,  206 


Rabe, . 

Readell,  . .  _ 
Renaud,  . .  _ . 
Renshaw,  .. 
ReYNT JENS,  _ 
Rhomberg,  . 

Ricci,  . 

Richter,  E., 

Riedel, . 

Rigon, . 

Roberti,  ... 

Robert, _ 

Romako, _ 

Ronner, 
Rosenboom,  . 
Rosseau,  ... 
Roybet,  .... 
Ryk, _ 


.  187 

. .  337 

. -  263 

_ 465,  466 

. 33,  73 

. .  202 

.  77 

. .4,  97 

327,  338,  353 

.  76 

_ 503 

_ 319,  320 

.  191 

. .  485 

. .  282 

_ 358 

_  99 

_ 354 


Nardi, . 

_ 464 

Nechutrey, _ 

. .  147 

Neuhaus, . 

. . .  35 

Nicolas, . 

. . 156 

OCHMIDIEN, . 

. .  47 

Orlafp, . 

. .  345 

Ortego, . 

. 27,  28 

Pagani, . 

. -157,  290 

Saccra,. .  193 

Salmson, . 

Saresi, _ 56 

Sarri, . 380 

Sayer, . . 493,  500,  503 

Scalbert, _ 369 

SCHLESINGER,  F., . 223,  238 

SCHNITZER, _ ’ . 342 

SCHREYER, . 32 


powers’  art  gallery. 


SCHUTZE, . 

_ _ -  152 

Schwarz, . 

. .  74 

ScORBISKY, _ 

_  321 

Seitz,  A, - 

_ 70,  248 

Seitz,  0., . 

. .  155 

SiMEONI,  . . 

-...458,  486,  504 

SiMLER, - 

. 153,  212 

SiMONETTI, _ 

. . .  474 

SOHN,  - . 

. . 215,  264 

Stiepevich, _ 

. .  72 

Story, . 

_ _  84 

Stuart,  - 

. . .  272 

Tamburini, _ 

.  3,  230,  364,  365 

Ten  Kate,  H.,  . 

_ _  58 

Ten  Kate,  Marie, - 472,  484 

Tensfeld, _ 

....274,  348,  350 

Teschendorf,  . 

. .  86 

Toulmouche, 

. . 251 

Trautman, _ 

. . .  356 

Trayer, . 

. . .  249 

Van  Haanen, . .  244 

Van  Marcke, . 258 

Van  Muyden, . 179,  340 

Vely, . . .  12,  65 

Veeboeckhoven, . 246 

Veenet,  J., . .  285,  322,  323 

ViBEET, .  - .  .62,  252,  260,  360,  375 

Vogt, . . 348 

VOLTZ, . 18 


Watt,--- . 471 

WieSENBEOCH,  . . 467 

Wood,  T.  W., . .81,  177 

Worms, . . 63 

Wright, . . .  92 

Wynveld, .  151 

Zampighi, . 450 

ZlMMEEMANN, . 59,  60 


e 


liisip  OP  Old  (Dasipei^s 

REPRESENTED  IN  THE  POWERS’  ART  GALLERY, 

EITHER  BY  ORIGINALS  OR  COPIES. 


Allori, _ 564 

Barbieri, _ _  574 

Battoni, _  623 

Benfatto, _ 594,  642,  646 

Bili\t:rti, _  _ 566,613 

Bonifacio, _ 643,  645 

Bucher, _ 641 

Cagliari,  C., _ 631 

Cagliari,  Paolo, _ 571 

Canaletti  _ 608,  657 

Caracci,  . . 580,  589 

Caravaggio,  M.  A.,  ...581,  636 
Caravaggio,  P., . 588 

Delacroix, . . 638,  639 

Da  Ponte, . 583 

Dolci, . . .552,  562 

Guido  Reni, _ 577,  578,  612 

Holbein,  S.  ,  . . 585 

Honthorst,  _ 584,  600 


Lange, _ 655,  656 

Liberi, _  637 

Maratti,  . . 626 

Michael  Angelo, _  563 


Murillo,  551,  555,  567,  602-606, 
625 

Raphael,  553,  556,  557,  561,  665, 


598 

Robusti  (Tintoretto), _ 574 

Romanelli, _ 575 

Roos, _  640 

Rubens, _  618,  619 

Salvi  (Sassoferrato), _  560 

Tiepolo,  582,  601,  634,  651,  653 
Titian,  554,  572,  576,  579,  627, 
630 

Vandyck, _ 622,  660 

Van  Laer, _  647 

Yannuchi, _ 568 

ZuccARELLi, _ 658,  659 


SCULPiPOI^S 


REPRESENTED  IN  THE  POWERS’  ART  GALLERY. 


Ball,  . . . ...VII 

Confer, . . IV,  V,  VI 

Gould,  . . II 


Jackson,  _ XV 

Papotti,  I,  III,  VIII,  IX,  XI, 
XII,  XIIL 


INTRODUCTORY. 


&AINT1IN6  AS  A  FINE 


Brief  History  of  the  Art  and  of  the  various  Schools  of  Painting. 


lAINTING,  considered  as  a  fine  art,  lias  been  defined  as  the 


r  depicting,  on  a  fiat  surface,  of  objects  by  means  of  lines  and 
color,  so  as  to  convey  through  the  eye  to  the  mind,  ideas,  and  to 
awaken  emotions.  In  its  ruder  form,  painting  is,  perhaps,  the  oldest 
of  the  arts.  Remains  discovered  in  Egypt  show  that  the  temples  of 
Thebes  were  adorned  with  paintings  and  sculpture.  The  art  would 
thus  date  back  at  least  two  thousand  years  before  the  Christian  era. 
The  Babylonians  and  Chaldeans  appear  also  to  have  practiced  it,  as 
mention  is  made  in  the  Scriptures  of  paintings  in  Jerusalem  after  the 
manner  of  those  nations. 

Greece  probably  stood  at  the  head  of  the  ancient  world  in  painting, 
as  she  undoubtedly  did  in  sculpture.  Though  no  specimens  of  Greek 
painting  survive  to  prove  the  first  of  these  statements,  still  her  pre¬ 
eminence  in  sculpture,  an  allied  art,  the  prodigious  sums  paid  for 
paintings  by  her  great  artists,  and  the  jealousy  with  which  they  were 
guarded  by  the  cities  owning  them,  warrant  the  inference. 

The  chief  Greek  schools  of  painting  were  in  Athens,  Corinth, 
Rhodes  and  Sicyon.  The  great  painters  of  Greece,  in  the  order  of 
time,  were:  Appolodorus  of  Athens,  Zeuxis,  Androcides,  Eupompus, 
Parrhasius,  Timanthes,  Pamphilus  and  his  immortal  pupil  Apelles, 
and  Protogenes,  the  latter’s  rival. 

It  is  hardly  necessary  to  mention  Roman  art,  inasmuch  as  such 
remains  of  it  as  have  been  discovered  betray  a  decidedly  Greek 
origin,  and  the  majority  of  the  best  paintings  which  adorned  the 
Roman  temples  and  palaces,  came  from  Greece. 

The  technical  processes  employed  by  the  ancients  in  painting  have 
given  rise  to  much  discussion.  It  is  fairly  certain,  however,  that  the 


powers’  art  gallery. 


ancients  painted  chiefly  in  fresco  and  in  tempora.  The  former  of 
these  methods  consists  in  painting  in  f  resh  plaster  with  colors  made 
of  earths  or  minerals,  and  able  to  resist  the  action  of  the  lime  in  the 
plaster;  the  latter  kind  of  paintings  were  executed  mainly  on  boards, 
the  vehicle  used  for  the  colors  being  some  kind  of  size,  the  whole 
protected  by  varnish  or  encaustic. 

The  incursions  of  the  barbarians,  in  the  fifth  and  succeeding 
centuries,  gave  the  fine  arts  a  death  blow.  What  remained  was 
transferred  with  the  seat  of  empire  to  Byzantium,  and  was  preserved, 
in  the  conventional  style  known  as  Byzarctine,  until  the  break  up  of 
that  school  on  the  Conquest  of  Byzantium  by  the  Latins,  at  the 
beginning  of  the  13th  century.  It  still  survives  in  the  church-paint¬ 
ing  of  the  Russians, 

The  Greek  artists  transported  to  Italy  after  the  conquest  were  the 
first  masters  of  those  Italians  destined  to  revive  painting  and  whose 
successors  carried  the  art  to  such  extraordinary  perfection,  Guido 
da  Siena  (1221)  and  Guido  of  Pisa  (1236)  are  the  first  Italians  whose 
names  figure  as  connected  with  the  revival  of  art  in  Italy.  Then 
came  the  founder  of  the  Italian  school,  Giovanni  Cimabue  (1240- 
1300),  who  was,  however,  still  largely  influenced  by  the  Byzantine 
style.  Giotto,  the  shepherd  boy  of  Vespignagno,  near  Florence 
(1276-1336),  was  the  first  to  break  entirely  away  from  the  traditions 
of  the  Byzantine  school.  The  most  celebrated  of  his  works  now 
extant  are  his  frescoes  at  Assizi,  and  some  of  the  same  class  at  Padua, 
Florence  and  Naples.  Giotto’s  style  impressed  itself  on  Italian 
painting  for  upwards  of  a  century.  Masaccio  (1401-1443)  made  great 
advances  on  his  predecessors  in  correct  delineation  and  closer  study  of 
nature.  His  frescoes  are  considered  second  only  to  those  of  Raphael. 
Among  the  painters  who  contributed  most  powerfully  to  the  revival 
of  art  in  Italy,  up  to  and  including  the  lifetime  of  Masaccio,  may  be 
mentioned  Fra  Giovanni  da  Fiesole  (1387-1455),  called  Fra  Angelico, 
Pietro  Perugino,  Raphael’s  master,  and  Francesco  Francia  of  Bologna; 
Giovanni  Bellini  (1422-1512),  the  founder  of  the  early  Venetian  school, 
Domenico  Corradi,  or  Ghirlandajo,  Andrea  Mantegna  (1430-1506), 
Luca  Signorelli,  of  Cortona  (1440-1521),  and  Antonello  da  Messina. 

It  was,  however,  during  the  next  hundred  years  (1440-1540)  that 
Italian  art  reached  its  climax.  For  the  purposes  of  this  brief  sketch, 
it  is  not  necessary,  nor  indeed  within  its  limits  would  it  be  possible,  to 
enumerate  the  minor  stars  of  the  great  artistic  galaxy  which  shone 
from  Italy  on  the  rest  of  the  world  at  this  period.  An  enumer¬ 
ation  of  the  brightest  stars  must  suffice.  The  three  greatest  lights 
were  Leonardo  da  Vinci  (1452-1519),  iVIichael  Angelo  Buonarotti 


IKTKODUCTOEY. 


(1474-1563)  and  RaffaSle  Sanzio  of  Urbino  (1483-1520).  Scarcely  less 
distinguished  were  Titian  (1477-1576)  and  Antonio  Allegri,  surnamed 
Correggio  (1494-1534).  The  chief  characteristics  and  excellencies  of 
the  golden  age  of  Italian  art  are  to  be  found  in  the  works  of  these 
painters.  Profound  religious  feeling  and  grave  dignity  mark  the 
works  of  Leonardo.  Michael  Angelo  surpasses  in  grandeur  of  con¬ 
ception  and  design,  while  in  the  perfection  of  his  anatomy  and 
drawing  he  has  outstripped  all  rivals,  ancient  or  modern.  Titian  and 
Correggio,  while  great  masters  of  every  other  art- resource,  each  dis¬ 
tanced  all  competitors  in  one  special  quality,  the  former  in  color,  the 
latter  in  chiaroscuro,  or  light  and  shade.  But  to  Raphael,  on  account 
of  the  greater  sum  of  his  united  excellencies  over  any  other  individual 
painter,  is  generally  conceded  the  highest  place.  Dignity  of  move¬ 
ment  combined  with  great  breadth  of  treatment  and  grandeur  of 
outline  distinguish  him.  His  embodiments  of  spiritual,  almost  etherial 
female  beauty,  and  his  wondrous  depiction  of  infantile  grace  and 
purity,  maternal  affection,  etc. ,  stand  alone. 

Among  the  contemporaries  of  these  masters,  mention  must  be  made 
of  Fra  Bartolomeo  (1469-1517),  Andrea  Vannuchi,  named  Del  Sarto 
(1488-1530),  both  of  Florence,  and  Giorgio  Barbarelli,  called  Giorgione. 
The  works  of  these  artists  are  of  great  merit.  The  influence  of  the 
five  great  masters  is  distinctly  traceable  in  the  works  of  Sebastiano 
del  Piombo  (1485-1547),  Bernardino  Luino  (1460-1530)  and,  of  course, 
in  their  pupils.  Of  these  the  most  noted  are:  Daniele  da  VolteiTa 
(1509-1566),  a  pupil  of  Michael  Angelo,  and  Giulio  (Romano)  Pippi 
(149^1546),  a  pupil  of  Raffaele.  The  decline  of  Italian  art  which 
set  in  towards  the  middle  of  the  sixteenth  century  was  longest  with¬ 
stood  by  the  Venetian  school,  as  evidenced  by  the  works  of  Tinto¬ 
retto  (1512-1546)  and  those  of  Paul  Veronese  (1528-1588).  But  in 
the  other  schools  of  Italy,  the  decline  was  rapid,  most  of  the  pupils 
of  the  great  masters  lacking  power  and  originality. 

An  attempt  was  made  to  revive  art  in  Italy  at  the  end  of  the  six¬ 
teenth  and  during  the  first  half  of  the  seventeenth  century.  The 
most  famed  school  produced  by  it  was  that  of  Bologna,  which  was 
founded  by  Ludovico  Carracci  (1555-1619)  and  his  two  nephews, 
Agostino  Carracci  (1558-1602)  and  Annibale  Carracci  (1560-1609). 
Among  the  painters  produced  in  this  school  the  most  eminent  are: 
Domenico  Zampieri  (Domenichino)  (1581-1641)  and  Guido  Reni 
(1575-1642).  These  with  their  masters  formed  what  was  termed  the 
Eclectic  school,  the  main  feature  of  which  was  the  selection  and 
union  in  their  works  of  the  individual  merits  and  characteristics  of  all 
their  great  predecessors.  In  this  they  attempted  the  impossible.  Still 


POWEKS^  AET  GALLEEY. 


their  paintings  rank  very  high.  Salvator  Rosa’s  (1G15-1673)  historical 
and  scriptural  subjects  are  painted  chiefly  in  the  style  of  this  school. 

Vigorously  opposed  to  their  idea  was  the  Naturalist  school,  founded 
by  Michael  Angelo  Amerighi  da  Caravaggio  (1569-1609).  The  chief 
seat  of  this  school  was  at  Naples,  where  it  was  headed  by  Guiseppe 
Ribera  (1593-1636),  called  Spagnoletto  from  his  Spanish  birth.  It 
aimed  at  a  bold  and  independent  style,  free  from  the  traditions  of  the 
earlier  masters  and  largely  devoted  to  the  portrayal  of  scenes  from 
common  life.  Its  influence  was  for  a  long  time  felt  in  the  Spanish 
school. 

Of  this  latter,  i.  e.,  the  Spanish  school,  the  early  specimens  show 
very  distinctly  the  influence  of  the  older  German  artists.  This  was 
probably  traceable  to  the  fact  that  many  of  the  pictures  of  the 
Germans  found  their  way  into  Spain.  Thus  the  beginning  of  the  art 
revival  in  Spain  had  no  distinctive  national  features  which  woifld 
warrant  us  in  speaking  of  a  Spanish  school  until  after  the  Spaniards 
of  the  sixteenth  century  had  impregnated  themselves  with  the  concep¬ 
tions,  style  and  methods  of  the  Italians,  Titian  and  Raphat5l  being 
their  chief  models.  It  was  from  this  period  that  Spanish  art  became 
national  in  style  and  feeling,  and,  when  the  works  of  the  Spanish 
school  are  referred  to,  it  is  always  to  this  period  that  allusion  is  made. 
The  greatest  painters  of  this  school  are  Diego  Velasquez  (1599-1660), 
Bartholome  Esteban  Murillo  (1618-1682),  Ribera  (Spagnoletto),  previ¬ 
ously  mentioned,  Alonzo  Cano  (1601-1667),  Francisco  Zurbaran  (1598- 
1662)  and  Claudio  Coello  (1630-1693).  Spain  has  had  no  great  master 
since  the  close  of  the  seventeenth  century. 

From  the  opening  of  the  fifteenth  century  until  the  close- of  the 
sixteenth,  Germany  produced  many  great  painters.  The  leading 
characteristics  of  the  German  school  of  this  period  are  fertility  of 
invention,  strong  individuality,  clearness  of  coloring  and  high  finish. 
Jan  Van  Eyck  (1390-1441)  stands  foremost  among  the  old  German 
painters.  He  is  supposed  to  have  been  the  first  master  who  used  oil 
instead  of  size  in  his  colors.  This  is,  however,  open  to  doubt.  His 
paintings  are  distinguished  for  their  brilliant,  transparent  coloring. 
Among  the  most  famous  painters  of  this  school  are :  Hans  Hemling  or 
Memling  (died  1489),  Quentin  Matsys  (1450-1529),  Lucas  van  Leyden 
(1494-1532),  Albert  Dilrer  (1471-1528),  Justus  of  Ghent  (flor.  1451), 
Roger  of  Bruges  (1390-1470),  Jan  Van  Mabuse  (1470-1532),  Hans 
Holbein  (1497-1554)  and  Antonio  More  (1512-1588). 

The  painters  who  succeeded  the  celebrated  artists  of  the  Dilrer  and 
Van  Leyden  period  attempted  to  graft  on  their  own  national  style  the 
characteristics  of  the  Italian  school,  and,  later,  to  imitate  the  Italian 


INTRODUCTOKY. 


painters  outright.  They  produced  the  worst  paintings  of  any  school, 
hut,  nevertheless,  form  a  link  between  the  old  German  masters  and 
the  strong,  fresh  and  attractive  works  of  the  Low  Countries’  painters 
in  the  seventeenth  century. 

Almost  simultaneously  with  the  rise  of  the  Eclectic  and  Naturalist 
schools  of  Italy,  a  revival  of  art  took  place  in  the  Low  Countries. 
Two  important  schools  of  painting  were  the  result :  the  Flemish  and 
the  Dutch.  Both  these  schools  were  distinguished  by  great  freedom 
and  originality  of  treatment,  a  close  study  of  individual  life  in  its 
ever  varying  phases,  and  exceeding  truth  and  fineness  of  execution. 
The  number  of  artists  belonging  to  these  two  schools  is  lengthy.  Of 
the  Flemish  school  the  greatest  masters  were:  Peter  Paul  Rubens 
(1577-1640),  Anthony  Van  Dyck  (1599-1641),  David  Teniers  the 
younger  (1610-1690),  and  F.  Snyders  (1579-1657).  Of  the  Dutch 
school  the  most  famous  names  are:  Rembrandt  (1608-1669),  Vander- 
helst  (1613-1670),  Albert  Cuyp  (1605-1691),  Terburgh  (1608-1681),  A. 
V.  Ostade  (1610-1685),  J.  Ruysdael  (1630-1681),  Hobbima  (1629-1670), 
Paul  Potter  (1629-1654),  K.  du  Jardin  (1635-1678),  Jan  Steen  (1636- 
1689),  G.  Metza  (1615-1658),  F.  Mieris  (1635-1681),  W.  Van  de  Velde 
(1633-1707),  A.  Van  der  Neer  (1613-1684),  P.  Wouvermans  (1620- 
1688). 

The  revival  of  art  in  France  and  the  growth  of  a  national  school 
w^ere  somewhat  retarded  by  a  disposition  on  the  part  of  the  French 
kings  and  nobles  to  patronize  foreign  rather  than  French  painters. 
From  the  time  of  Francis  I.  to  that  of  Louis  XIV. ,  the  larger  share  of 
this  patronage  fell  to  foreigners.  The  consequence  was  that  the 
debased  Italian  style  kept  a  longer  hold  on  the  native  French  artists 
than  would  perhaps  otherwise  have  been  the  case.  Still,  contempo¬ 
raneously  with  Guido,  Domenichino  and  others,  we  find  Nicholas 
Poussin,  Claude  Lorraine  and  Caspar  Poussin  at  Rome  in  the  front 
rank  of  landscape  painters.  In  the  sixteenth  century  the  only  French 
names  worthy  of  special  mention  are  those  of  Clouet  and  Cousin.  In 
the  seventeenth  century  the  only  French  painters  whose  works  have  a 
tnily  national  character  and  feeling,  are  the  brothers  Nain.  Still 
there  were  many  eminent  painters  in  France  at  that  period,  chief 
among  whom  are :  Nicholas  Poussin,  Mignard,  Simon  V ouet,  Claude 
Lorraine,  Le  Sueur,  J.  Courtoise,  Coypel  and  S.  Bourdon.  Then 
came  W atteau,  a  really  national  painter,  with  his  imitator,  Lancret, 
Gillot,  Greuze,  Chardin  and  Pater.  Greuze  nobly  upheld  the  char¬ 
acter  of  French  national  art,  which,  chiefly  through  his  influence, 
regained  its  hold,  after  the  ephemeral  success  of  the  classic  school  of 
David.  The  French  masters  of  the  present  century  whose  pupils  now 


powers’  art  gallery. 


uphold  the  glory  of  French  art  are :  Gericault,  Delaroche,  Prud’hon, 
Ingres,  Ary  Scheffer,  Horace  Yernet  and  Leopold.  Robert. 

England  was  the  last  country  in  Europe  to  feel  the  influence  of  the 
great  Italian  art  revival.  Such  painting  of  excellence  as  was  done 
there,  was,  until  Sir  Godfrey  Kneller’s  death,  executed  almost  exclu¬ 
sively  by  foreigners.  As  early  as  the  time  of  Henry  YIII. ,  a  disposi¬ 
tion  was  evinced  to  cultivate  and  patronize  foreign  artists.  That 
monarch  competed  with  Francis  I.  for  the  services  of  the  greatest  of 
the  Italian  artists  and  secured  those  of  Hans  Holbein,  who  took  up 
his  permanent  abode  in  England.  Rubens  and  Van  Dyck  were 
patronized  by  Charles  I.  William  Hogarth’s  (1697-1764)  great  share 
in  forming  an  association  of  English  artists  in  1734^1735,  which  sub¬ 
sequently  became  the  Royal  Academy,  and  the  wonderful  excellence 
with  which  he  developed  the  English  characteristics  in  his  work, 
entitled  him  to  be  called  the  founder  of  the  English  school.  Over  its 
beginnings  Watteau  and  his  contemporaries  exercised  considerable 
influence.  Even  Hogarth  himself  studied  closely  the  works  of  the 
great  French  master,  which  were  well  known  at  that  time  in  England 
through  engravings,  and  were  so  much  admired  that  Watteau  was 
induced  to  spend  the  year  1720  painting  in  London.  But  Hogarth 
exhibited,  besides,  an  originality  and  dramatic  vigor  all  his  own. 
These  features  have  ever  since  characterized  the  English  school,  as 
may  be  seen  in  the  works  of  Wilkie,  Stuart  Newton,  Bonnington  and 
others,  while  in  portrait  painting  the  works  of  some  English  masters 
rank  with  those  of  Velasquez,  Van  Dyck  and  Titian.  It  is  but  nec¬ 
essary  to  mention,  in  this  regard,  the  names  of  Reynolds,  Gainsbor¬ 
ough  and  Raeburn.  In  landscape  the  English  school  stands  very 
high,  and  is  acknowledged  by  the  French  to  have  had  considerable 
influence  upon  their  own  landscape  painters.  Constable,  Nasmythe, 
Collins,  Muller,  R.  Wilson,  Turner,  Calcott,  J.  Thomson  and  the 
artists  of  the  present  day  share  the  glory  of  this  acknowledgment. 

Nor  has  America  been  without  her  influence  on  English  art,  inas¬ 
much  as  some  of  the  ablest  members  of  the  Royal  Academy  have  been 
Americans.  Benjamin  West  (1738-1820)  was  one  of  its  first  members 
and  in  1806  was  elected  its  president.  Several  of  the  works  of  J.  S. 
Copeley  (1737-1815),  elected  R.  A.  in  1779,  are  in  the  National  Gallery, 
London.  C.  R.  Leslie,  although  born  in  London,  was  educated  in 
Philadelphia,  and  became  an  Academician  in  1832.  Washington 
Allston  was  elected  an  associate  of  the  Royal  Academy  in  1818. 
There  cannot  be  said  at  present  to  exist  a  distinctively  American 
school  of  art,  although  there  are  signs  that  one  is  being  gradually 
evolvea  and  its  full  development  is  merely  a  matter  of  time. 


ATALOGUE. 


(The  First  Number  Indicates  the  Width  of  Each  Picture.) 

1  VINCENTE  PALMAROLI.  (Span.)  Paris. 

Pupil  of  F.  Madrazo.  Med.  2nd  cl.  tJniversal  Expos.  Paris,  1807.  His 
originality  of  conception  and  vigor  of  delineation  place  him  in  the  next 
rank  to  Fortuny,  Meissonier  and  his  master,  Madrazo. 

THE  STORM. 

25  X  42. 

The  swift  approach  of  the  threatening  storm  warns  the  anxious 
mother  to  seek  shelter  with  her  child. 


2  GUISEPPE  PALIZZI.  (Ital.)  Paris. 

Pupil  of  the  Academy  of  Naples.  Med.  2nd  cl.  1848.  Legion  of  Honor  1859. 
Officer  of  the  order  of  the  Crown  of  Italy. 

DRIVING  OUT  THE  FLOCK. 

35  X  22. 

This  canvas  is  an  excellent  example  of  the  artist  in  the  field  in 
which  he  is  most  at  home.  His  flock  is  not  idealized,  but  is  just  such 
as  one  might  see  in  the  early  morning  turned  out  to  pasture.  Life  and 
movement  are  strongly  marked  in  this  study. 


3  ARNOLDO  TAMBURINI.  (Ital.)  Florence. 

AN  OLD  MONK. 

10  X  12. 

Well-fed,  pious  lethargy,  allied  to  good-natured  shrewdness,  is 
-depicted  with  the  acknowledged  skill  of  this  artist  in  limning  this, 
species  of  “  type.” 


POWERS'  ART  GALLERY. 


4  ^:DOUARD  KICHTER  (Fr.)  Paris. 

Pupil  of  E.  Hebert  and  Leon  Bonnat.  An  artist  distinguished  for  hi® 
Moorish  and  Oriental  scenes. 

THE  JEWEL  OF  THE  HAREM. 

23  X  35. 

This  is  a  captivating  study  of  Oriental  beauty  in  its  most  sensuous 
form.  The  manner  in  which  the  lights,  middle  tints  and  shadows  are 
managed,  makes  this  a  remarkable  picture. 


5  WILFRID  CONSTANT  BEAUQUESNE.  (Fr.)  Paris. 

Pupil  of  H.  Vernet  and  Emile  Leoomte.  A  painter  of  mihtary  subjects 
and  battle  scenes. 

BUGLE  CALL. 

10  -  13. 


6  WILFRID  CONSTANT  BEAUQUESNE.  (Fr.)  Paris. 
ON  GUARD. 

10  X  13. 


y  W.  KRAY.  (Austr.)  Vienna. 

A  well-known  painter  of  classic  and  mythological  subjects. 

VENUS  APHRODITE. 

45  X  64. 

The  title  Aphrodite  given  to  Venus  is  derived  from  the  Greek  word 
“Aphros,”  meaning  “foam,”  and  refers  to  the  ancient  myth  which 
represented  the  goddess  as  springing  from  the  foam  of  the  sea.  The 
painter  has  speakingly  embodied  the  youth,  beauty  and  grace  of  the 
“goddess  of  love.” 

8  A.  A.  LESREL.  (Fr.)  Paris. 

Pupil  of  Gerome.  Painter  of  “  genre  ”  pictures. 

LA  DANSE. 

28  X  36. 

Skilful  grouping,  harmonious  coloring  and  careful  finish  character¬ 
ize  this  work.  It  will  repay  attentive  study. 


MODERN-  OIL  PAINTINGS. 


9  CARL  BECKER.  (Germ.)  Berlin. 

Pupil  of  the  Berlin  Academy,  of  Von  Klceber,  Heinrich  Hess  and  Cornelius. 
President  of  the  Academy  of  Berlin.  Member  of  the  Academy  of  Vienna 
and  of  the  Royal  Society  of  Letters  and  Fine  Arts  of  Belgium.  Officer  of 
the  Order  of  Leopold.  Medals  at  Vienna,  Berlin  and  Munich,  and  many 
other  honors  and  decorations. 

ITALIAN  MOTHER  AT  PRAYER. 

28  X  42. 

The  gentle  earnestness  of  the  mother,  as  she  invokes  the  Madonna, 
or  saint,  in  front  of  whose  shrine  she  kneels,  and  the  coy  timidity  of 
the  child,  are  exquisitely  rendered.  It  is  a  good  example  of  the  artist 
at  his  best. 


10  R.  DE  MAD  RAZO.  (Span.  Roman  born.)  Paris. 

Med.  1st  cl.  1878.  Legion  of  Honor  1878. 

LA  BELLE  DESCEUVREE. 

25  X  26. 

A  broadly  treated  canvas,  the  subject  of  which  would  probably  be 
called  in  France  by  the  above  title,  or,  as  we  should  say,  “An  Unem¬ 
ployed  Beauty.”  She  is  sitting  in  some  public  resort  with  a  half- 
finished  glass  of  lemonade  before  her,  evidently  interested  in  some¬ 
thing  going  on  elsewhere.  A  bold,  masterly  study  of  blues,  grays 
and  flesh  tints. 


1 1  WILLIAM-ADOLPHE  BOUGUEREAU.  (Fr.)  Paris. 

Pupil  of  Picot.  Prix  de  Rome  1850,  med.  3nd  cl.  1855  (Paris  Exposition), 
med.  1st  cl.  1857.  Legion  of  Honor  1859,  med.  3rd  cl.  1867.  Member  of  the 
Institute  1876,  Officer  of  the  Legion  of  Honor  1876,  Medal  of  Honor  1878.  An 
ai'tist  distinguished  for  his  thorough  knowledge,  taste  and  refinement.  His 
fame  dates  from  his  exhibition  in  1854  of  “  The  Body  of  St.  Cecelia  Borne  to 
the  Catacombs.”  He  has  since  painted  a  large  number  of  highly  prized 
pictures. 

PETITES  MARAUDEUSES. 

The  Little  Pilferers. 

42  X  78. 

The  painter  has  caught  the  subjects  of  this  effective  picture  on  a 
little  foraging  expedition  which  is  just  being  concluded.  It  vividly 
recalls  the  time  of  life  when  the  flavor  of  purloined  fruit  is  resistless 
to  the  childish  palate. 


powers'  art  gallery. 


12  ANATOLE  VELY.  (Fr.  dec’d.)  Ronsoj'. 

Pupil  of  Sig-nol.  Medal  in  1874.  One  of  the  first  figure  painters  of  France. 

FRANCESCA  DA  RIMINI  AND  PAOLO. 

30  X  40. 

We  are  here  in  presence  of  the  luckless  pair  whom  Dante  has  im¬ 
mortalized.  Francesca  is  reading,  probably  from  some  romance,  to 
her  brother-in-law,  w’hose  guilty  love  for  her  was  avenged  in  the  blood 
of  both  by  her  husband,  Lanciotto  da  Rimini,  a  cruel  dwarf. 


13  EDOUARD  EROLI.  (Ital.)  >  Rome. 

Pupil  of  Fortuny.  Painter  of  “  genre  ”  pictures. 

LA  FILLE  DU  REGIMENT. 

11  X  28. 

A  dapper  looking  trooper  with  a  very  fascinating  cantin^re  helping 
him  to  a  slight  refresher — probably  kirsch-wasser. 


14  OTTO  PILTZ.  (Germ.)  Weimar. 

VESPER  IM  KINDERGARTEN. 

Lunch  Time  in  School. 

52  X  30. 

This  one  picture  is  sufficient  to  establish  any  artist’s  fame.  Whether 
examined  as  to  grouping,  drawing,  coloring,  incident  or  life-likeness, 
it  is  a  most  admirable  performance.  The  restraints  of  rule  are  relaxed 
for  lunch  time,  and,  forthwith  the  sixty -odd  toddlers  of  the  establish¬ 
ment  are  seen  in  every  attitude  of  preparation  for  an  attack  on  their 
frugal  fare.  The  faces  in  this  composition  have  evidently  been  a 
labor  of  love  with  the  painter.  How  varied,  how  natural,  how  like 
the  blythe  faces  of  children  who  are  not  cowed  by  that  patient,  sedate 
looking  mistress  peeling  the  apple  into  the  expectant  palm  of  the 
‘  ‘  good  boy  ”  near  her.  What  a  contrast  he  is  to  the  two  urchins  in 
the  right  background  engaged  in  mutually  complimentary  grimace 
and  gesticulation.  Then,  the  episode  so  plainly  told  by  the  rugged 
servant  maid,  the  pail  and  the  whimpering  ‘  ‘dot  ”  in  the  middle  of  the 
room!  Who  ever  saw  a  more  likely  set  of  clothes  on  any  school 
children?  They  look  as  if  they  had  good  hard  wear,  and  plenty  of 
it.  Then,  how  admirably  the  light  is  managed  I  Look  into  the  back 
room  and  see  how  softened  and  mellowed  it  is  by  that  window  blind. 
The  artist  even  takes  care  to  hint  in  his  dilapidated  wall-paper  that 


MODEEK  OIL  PAUs^TINGS. 


the  mistress  ekes  out  but  a  scanty  living  by  her  trying  work.  Now 
count  the  heads,  and  ask  yourself  whether  the  same  number  of  figures 
were  ever  more  naturally  or  artistically  grouped  in  any  picture? 
This  is  the  work  of  a  strong,  conscientious  artist,  the  subject  and 
execution  of  which  will  prevent  it  from  ever  going  out  of  date. 

15  A.  LUEBEN.  (Germ.)  Munich. 

BAVARIAN  LOG-RUNNER. 

22  X  30. 

The  work  of  the  men,  of  whom  this  is  a  good  specimen,  is  to  run 
‘'logs  on  the  flood”  and  to  clear  the  way  when,  as  often  happens,  logs 
get  athwart  the  stream  and  create  a  block.  It  is  a  dangerous  calling. 
One  can  see  in  the  firm  lines  of  this  face  that  its  owner  is  equal  to 
any  danger.  Apart  from  the  perfection  of  detail  and  the  surprising 
sureness  of  touch  evinced  in  this  canvas,  it  is,  as  a  study  of  browns 
and  grays,  one  of  the  most  remarkable  pictures  in  the  collection. 

16'  LEON  ESCOSURA.  (Span.) 

THE  VISIT  TO  THE  CHATEAU. 

30  X  24. 

A  scene  which  leaves  full  scope  to  the  play  of  the  imagination. 
The  costumes  would  make  this  fair  company  belong  to  the  latter  end 
of  the  seventeenth  century.  Refinement  and  elegance  characterize 
the  party  to  whom  the  old  warden  is  explaining  possibly  the  meaning 
of  the  banner  or  the  episcopal  armorial  bearings  over  the  doors.  The 
picture  is  a  brilliant  memento  of  bygone  days  and  fashions. 

17  OSWALD  ACHENBACH.  (Germ.)  Duesseldorf. 

Medal  3rd  cl.  1859 ;  med.  2nd  cl.  1861.  Legion  of  Honor,  1863. 

GARIBALDI’S  CARRERA  HOME. 

26  X  18. 

This  canvas  represents  a  humble  dwelling  on  the  island  of  Caprera, 
which  lies  east  of  the  north  point  of  Sardinia,  in  the  I\Iediterranean. 
Here  Garibaldi  lived  from  1854  until  his  death,  with  the  exception  of 
the  time  spent  in  his  famous  Italian  campaigns.  The  lowly  house 
and  its  stern,  rugged  surroundings,  force  us  to  compare  the  greatness 
of  the  man  with  the  modesty  of  his  desires.  The  thoroughly  southern 
atmosphere  and  the  dreamy  warmth  thrown  into  this  picture  are  very 
characteristic  of  this  celebrated  painter. 


POWERS'  ART  GALLERY. 


18  FRIEDRICH  VOLTZ.  (Germ.)  Munich. 

Pupil  of  the  Academy  of  Munich.  Member  of  the  Academies  of  Berlin 
and  Munich.  Royal  Bavarian  Professor.  Medals  at  Berlin  and  the  great 
Wurtemberg  Art  Medal. 

CATTLE,  MEISENGER  LAKE,  Nekr  Munich. 

32  X  18. 

This  is  a  delicious  transcript  from  real  nature.  The  contrast 
between  that  portion  of  the  herd  standing  in  the  light  of  the  fore¬ 
ground  and  that  under  the  cool  shade  of  the  foliage,  is  masterly.  The 
trees,  too,  are  admirably  drawn  and  painted.  Such  examples  of  this 
artist’s  work  are  difficult  to  obtain  and  of  great  value. 


19  ^:DOUARD  DUBUFE.  (Fr.)  Paris. 

Med.  3rd  cl.  1839 ;  3nd  cl.  1840, 1st  cl.  1844.  Legion  of  Honor  1853 ;  med.  2nd  cl. 
1855 ;  OflOcer  of  Legion  of  Honor  1869 ;  med,  2nd  cl.  1878.  ' 

THE  PACHA’S  FAVORITE. 

56  X  46. 

Beauty,  luxury,  idleness  and  ease,  with  a  tinge  of  the  apathy 
engendered  by  harem  life,  speak  from  the  features  and  suiTOundings 
of  this  petted  sultana.  The  picture  is  worthy  of  this  eminent  painter. 


20  HENRY  DE  BUEL.  (Belg.)  Brussels. 

LEADING  OUT  THE  FLOCK. 

32  X  24. 

21  LOUIS  BRUCK-LAJOS.  (Hungarian.)  Paris. 

Pupil  of  M.  Munkacsy.  Honorable  mention,  Paris  Salon. 

THE  UNWILLING  SCHOOLBOY. 

40  X  32. 

A  well-painted  French  domestic  interior.  The  little  girls  on  the 
right  are  evidently  not  averse  to  the  day’s  work,  but  the  little  central 
figure  forcibly  reminds  one  of  Shakespeare’s  lines  in  the  Seven  Ages 
of  Man:  “And  then  the  schoolboy,  with  his  satchel  and  shining 
morning  face,  creeping  like  a  snail  unwillingly  to  school.” 


MODEKI^  OIL  PAINTINGS. 


•22  A.  POLLAK.  (Germ.)  Rome. 

COMING  ASHORE. 

40  X  58. 

The  subject  of  this  painting  is  an  everyday  episode,  but  'the  hand¬ 
some  boatman  carrying  the  tambourine  girl  looks  as  though  his  fair 
charge  might  be  weighing  more  on  his  mind  than  on  his  arms.  The 
composition  is  a  good  specimen  of  the  modern  Italian  school 

23  H.  E.  REYNTJENS.  (Belg.)  Brussels. 

THE  TOILET. 

7x6. 

24  J.  GYSELINCKS.  (Belg.)  Brussels. 

PUSSY  LIKE  A  BATH? 

12  X  15. 

The  chances  are  that  pussy,  resigned  as  she  looks,  will  clear  the  far 
side  of  the  tub.  The  lesson  of  childish  mischief  is,  however,  well 
conveyed. 

25  C.  DE  HAGEMAN.  (Fr.)  Paris. 

LOST  IN  THE  DESERT. 

13  X  16. 

26  C.  DE  HAGEMAK.  (Fr.)  Paris. 

CAMP  IN  THE  DESERT. 

13  X  16. 

Two  neat  studies  of  Arab  life  and  scenery. 

27  ORTEGO.  (Ital.) 

WHOSE  HAT  IS  THAT? 

10  X  14. 

The  artist  has  put  a  difficult  question  into  the  mouth  of  the  enraged 
husband,  who  will  probably  find  an  answer  behind  the  screen.  The 
religious  picture  and  statuette  are  in  sharp  contrast  with  what  is 
hinted  at  by  the  hat  in  the  chair. 

28  ORTEGO.  (Ital.) 

THE  FIRST  MEETING. 

13x  16. 

A  companion  picture  to  the  foregoing. 


powers’  art  gallery. 


29  ADRIEN  MOREAU.  (Fr.)  Paris. 

Pupil  of  Pils.  Med.  2nd  cl.  1876.  Legion  of  Honor  1878. 

REHEARSAL  OF  RICHELIEU’S  TRADEGY,  “MIRIAM.” 

72  X  48. 

The  great  cardinal -minister  of  Louis  XIII. ,  when  a  younger  man 
than  the  painting  represents  him,  had  an  idea  that  he  could  write 
plays,  and  succeeded  in  producing  two  poor  ones,  of  which  one, 
“Miriam,”  is  being  rehearsed  in  his  presence.  He  is  surrounded  by 
some  of  the  ladies  and  gentlemen  of  the  court.  It  would  be  difficult 
to  imagine  anything  much  superior  to  the  grouping,  drawing,  har¬ 
monious  coloring  and  refined  tone  of  this  superb  painting.  As  a 
study  of  a  courtly  interior  and  costumes,  as  well  as  of  the  aristocratic 
types  of  the  French  nobility  under  Louis  XIII. ,  it  commands  careful 
examination.  The  freedom  of  the  artist’s  handling  is  not  the  least 
charm  of  this  picture. 


30  KARL  HOFF.  (Germ.)  Duesseldorf. 

Pupil  of  the  Art  School  of  Carlsruhe  and  the  Academy  of  Duesseldorf.. 
Medals  at  Berlin,  Duesseldorf  and  Vienna.  Genre  painter.  His  “  Christen¬ 
ing  Scene  ”  is  in  the  Berlin  National  Gallery. 

THE  UNWELCOME  VISIT. 

32  X  46. 

A  t^te-At§te  seems  to  have  been  interrupted  here.  The  visitor’s 
anxious,  appealing  face  shows  that  she  brings  no  cheerful  news. 
Even  her  pug  has  a  doleful  look.  The  expression  of  irritation  and 
perplexity  in  the  gentleman’s  face  is  finely  worked  out.  Viewed 
simply  as  an  interior,  this  is  a  very  strong  picture. 


31  E.  GRUTZNER.  (Germ.)  Munich. 

A  FLYING  VISIT. 

28  X  32. 

A  stalwart  Tyrolese  hunter,  in  the  first  fiush  of  manhood,  finds- 
interest  enough  in  the  comely  face  of  the  maiden  within  to  bring  him 
to  a  halt.  His  sleeping  dog  shows  he  has  been  here  some  little  time. 
The  alpenstock  tells  us  that  dangerous  crags  are  no  strangers  to  him. 
This  painting  is  drawn  and  worked  out  with  wonderful  care  and 
skill. 


MODERN-  OIL  PAINTINGS. 


32  ADOLF  SCHREYER  (Germ.)  Frankfort  a.  M. 

Medals,  Paris  Salon,  1864, 1865,  1867. 

A  TOUGH  BIT  OF  ROAD. 

56  X  30. 

This  is  a  marvelous  canvas.  The  artist  who  can  arrest  and  fasci¬ 
nate  the  eye  with  such  a  sorry  set  of  horses  harnessed  by  old  ropes  to 
these  rude  country  wagons  must  be  a  genius.  The  faces  of  the  poor, 
overworked  brutes  tell  an  eloquent  tale  of  ill-treatment,  neglect  and 
scant  fare.  The  road  over  which  their  load  is  being  dragged,  if  a 
fair  sample  of  the  means  of  communication,  accounts  for  the  intense 
straining  and  wretched  condition  of  the  horses.  The  harmony  of 
tone  in  the  picture  is  equalled  only  by  the  powerful,  unconventional 
drawing  and  astonishing  freedom  of  the  handling. 

33  MEYER  VAN  BREMEN.  (Germ.)  Berlin. 

Pupil  of  Sohn.  Gold  medal  of  Prussia,  1850.  One  of  the  foremost  of  living 

painters. 

GIRL  READING. 

14  X  18. 

A  simple,  pure,  beautiful  conception.  The  consciousness,  intelli¬ 
gence  and  artless  frankness  which  look  out  of  this  child’s  eyes  are  a 
marvel.  The  quality  and  tone  of  the  two  lights — the  one  falling 
direct  from  the  casement  on  the  tresses  and  arm  of  the  girl,  the  other 
reflected  on  the  face  from  the  pages  of  the  book,  are  differentiated 
with  consummate  skill. 

34  A.  LUEBEN.  (Germ.)  Munich. 

UNDER^T^  HAMMER. 

This  is  an  eloquent  picture.  It  conveys  its  moral  with  directness 
and  force,  and  appeals  to  our  best  feelings.  The  old  naturalist — 
professor  too,  perhaps — has  been  carried  to  his  last  home,  and  his 
little  stock  of  books  and  specimens  is  being  disposed  of  at  auction. 
The  faces  in  this  work  deserve  each  a  separate  study.  They  are 
thoroughly  ewryday  faces,  and  just  such  as  we  should  expect  to  find 
on  the  errand  which  has  brought  them  into  this  room.  Not  too  keen 
and  eager,  but  still,  sharpened  as  to  feature  in  the  daily  struggle  of 
life.  The  country  auctioneer’s  clerk  is  calling  attention  to  a  dilapi¬ 
dated  coverlet,  while  the  great,  little  man  himself,  hammer  in  hand, 
is  watching  a  group  engaged  in  examining  the  ring  of  the  departed 
samnt.  A  solitary  picture  recalls  the  whilom  direction  of  the  latter’s 
youthful  fancy.  The  figure  and  face  of  his  forlorn  housewife,  as  she 


powers’  art  gallery. 


stands  receiving  the  condolences  of  her  prosperous  neighbors,  is 
perhaps  the  most  pathetic  trait  in  this  masterpiece.  Few  painters 
ever  worked  out  every  detail  more  lovingly  and  conscientiously  than 
Lueben  has  here  done.  The  performance,  judged  from  whatever 
point  of  view,  is  wholly  admirable. 

35  FRITZ  NEUHAUS.  (Germ.)  Dusseldorf. 

THE  PRINCE’S  FIRST  RIDE. 

30  X  40. 

The  handsome  nurse  has  just  put  her  princely  little  charge  on  the 
court  jester’s  back,  and  is  following  with  out  tretched  hands  lest  the 
tiny  cavalier  should  lose  his  seat.  The  various  expressions  of  the 
three  countenances  are  extremely  well  marked. 

36  MALTZA.  (  .)  Antwerp. 

THE  LATEST  NEWS. 

20  X  24. 

The  three  votaries  of  Vulcan  have  suspended  their  labors  in  order 
to  get  the  latest  news,  clearly  of  keen  interest  to  them. 

37  CECILE  FERRARE.  (Fr.)  Paris. 

A  HASTY  LINE. 

18  X  22. 

An  exquisite  bit  of  genre  painting. 

38  EDMUND  BLUME.  (Germ.)  Vienna. 

GRANDMA’S  STORY. 

30  X  42. 

The  venerable  old  dame  has  stopped  her  spinning  to  tell  a  story  to 
her  pretty  granddaughter.  A  lifelike  transcript  of  a  Swiss  or 
Tyrolese  peasant’s  home. 

39  KEM^:NDY  YENO.  (Hungary.)  Munich. 

THE  TETE-A-TETE. 

24  X  18. 

The  gentleman  acts  as  though  telling  his  fair  companion  that  her 
portrait  does  not  do  her  justice.  From  the  cigar  between  his  fingers 
he  must  be  on  terms  of  easy  familiarity  in  the  house.  The  subdued, 
ruddy  light  produced  by  the  color  of  the  window  shade  is  very 
effectively  managed  throughout  the  picture. 


MODEEIT  OIL  PAINTINGS. 

40  THEODORE  G^:RARD.  (Belg.)  Brussels. 

STEALING  A  PEEP. 

5x7. 

The  little  maiden  takes  advantage  of  her  father’s  absence  to  steal  a 
look  at  his  portfolio  of  engravings. 


41  HUGO  SALMSON.  (Swedo.)  Paris. 

Pupil  of  the  Stockholm  Academy  and  of  Comte.  Honorable  mention  Paris 
salon  of  1878.  His  picture  of  the  “  Feast  of  St.  John  in  Delecarlia,”  exhibited 
in  1874,  is  in  the  Corcoran  Gallery. 

A  SWEDISH  LADY 

6x8. 


42  JUAN  ANTONIO  GONZALEZ.  (Span.) 

Med.  3rd  cl.  1876. 

THE  SPANISH  COQUETTE. 

8x  10. 

This  dainty  Spanish  beauty  is  set  off  by  the  artist  with  such  a 
charming  toilette  that  she  is  downright  bewitching. 


43  JEAN  GUSTAVE  JACQUET.  (Fr.)  ‘  Paris. 

Pupil  of  Boug-uereau.  Med.  1868,  med.  1st.  cl.  1875,  med.  3rd  cl.  1878.  Chev. 
Legion  of  Honor  1879.  A  painter  of  high  repute. 

THE  VICTOR  VANQUISHED. 

42  X  54. 

He  tells  in  a  spirited  and  effective  way  the  old  story  of  Venus  con¬ 
quering  Mars.  The  roll  of  the  drum  has  yielded  to  the  lute  string. 
This  is  a  strongly  conceived,  well  drawn  and  finely  colored  work. 


44  E.  ANDERS.  (Germ.)  Duesseldorf. 

MOTHER’S  LOVE. 

24  X  38. 

To  judge  by  the  armorial  bearings  in  the  window,  the  little  nursling 
is  of  high  degree,  possibly  the  inheritor  of  the  title. 


POWERS'  ART  GALLERY. 


45  G.  FERKARI.  (Ital.)  Paris, 

Honorable  Mention,  Paris  Salon. 

THE  HARP  RECITAL. 

19  X  25. 

A  bevy  of  bigh-born  beauties  listening  to  a  solo  played  by  one  of 
tbeir  number  on  a  barp.  Everything  in  tbis  picture,  from  tbe  faces 
and  figures  to  tbe  smallest  accessories,  is  carefully  drawn  and  exquis¬ 
itely  finished.  Tbis  canvas  will  stand,  and  repay,  a  very  close 
examination. 

46  FRANZ  DEFREGGER.  (Ausir.)  Munich. 

Member  of  the  Munich  Academy.  Great  Gold  Medal  at  Munich  and  great 
and  small  g’old  medals  at  Berlin. 

SPECHBACHER  AND  HIS  SON.. 

50  X  38. 

Tbe  boy,  who  is  being  brought  forward  by  tbe  veteran  rifieman,  is 
Specbbacber’s  child,  who,  against  bis  father’s  wishes,  bad  joined  a 
company  of  sharpshooters,  and  having  killed  an  eagle  on  the  wing, 
has  earned  the  proud  title  of  “  Schuetzenkoenig,”  “King  of  the 
Riflemen.”  The  grizzly  patriot’s  face  says  very  distinctly  to  the 
father:  “This  isn’t  the  kind  of  a  boy  to  scold.”  Contending  emotions 
play  in  the  face  of  the  father,  who  has  turned  round  from  the  exam¬ 
ination  of  a  map,  on  which  he  has  probably  been  tracing  the  move¬ 
ments  of  Napoleon’s  troops.  He  was  one  of  the  celebrated  trium¬ 
virate — the  other  two  being  Joachim  Haspinger  and  Peter  Mayer — 
whose  success  against  the  French  in  1809  induced  the  great  Andreas 
Hofer  to  issue  from  his  hiding  place  and  lead  the  Tyrolese  to  the 
victory  of  Iselberg. 

47  H.  OCHMIDIEN.  (Germ.)  Duesseldorf. 

“A  FIG  FOR  YOUR  BOOKS.” 

12  X  16. 

The  young  hopeful  whom  the  painter  has  kept  in  after  school, 
presumably  for  idleness,  appears  not  to  have  made  the  slightest 
advance  with  his  task.  One  book  lies  unopened  on  the  desk,  the 
other  has  been  thrown  on  the  floor:  our  hero  is  meditatively  whistling, 
just  for  company.  His  eye  shows  that  his  mind  is  outside  with  his 
playfellows.  Apart  from  the  solitary  actor,  the  picture,  as  an 
interior,  is  very  conscientiously  painted  and  is  a  little  work  of  great 
promise. 


MODEEJ}’  OIL  PAINTINGS. 


48  BENNO  ADAM.  (Germ.)  Munich. 

ASS  AND  COLT. 

25  X  18. 


49  BENJAMIN  CONSTANT.  (Fr.)  Paris. 

Pupil  of  Cabanel.  Med,  3rd  cl.  1875,  med.  3nd  cl.  1876.  Chev.  Legion  of 
Honor  1878 ;  med.  3rd  cl.  1878.  A  celebrated  painter  of  Moorish  scenes. 

AL  FRESCO,  TANGIERS. 

88  X  50. 

The  painter  introduces  us  to  some  of  the  members  of  a  Moorish 
household  who  are  enjoying  the  fresh  air  on  the  roof,  a  very  prevalent 
custom  in  Eastern  lands,  especially  after  sundown  and  before  sunrise. 
Everything  in  the  canvas  breathes  Oriental  life,  atmosphere  and 
feeling.  The  faces  and  figures,  the  draperies,  the  walls,  the  sky  and 
every  accessory  are  wonderfully  painted.  The  drawing  and  painting 
of  the  recumbent  figure  on  the  left,  more  especially  the  face,  is  full  of 
character  and  strength.  This  is  a  fine  example  of  Benj.  Constant’s 
work. 


'  50  AUG.  FINK.  (Germ.)  Munich. 

AUTUMN  LANDSCAPE. 

50  X  34. 

This  landscape  is  extraordinarily  true  to  nature.  It  is  full  of  light 
and  air.  The  artist  runs  the  whole  gamut  of  color  in  the  browns, 
ochres  and  tender  gray-greens.  The  atmosphere  of  the  picture  is 
positively  invigorating.  It  did  not  even  need  the  deer  and  their 
enemy,  with  his  dog  and  rifle,  crouching  behing  yonder  tree,  to  give 
it  life.  It  is  a  canvas  of  great  merit. 


51  ETIENNE  ADOLPHE  PIOT.  (Fr.)  Paris. 

Pupil  of  L.  Cogniet. 

ITALIAN  GIRL  SPINNING. 

36  X  52. 

The  dark  type  of  rustic  Italian  beauty  has  been  very  skillfully 
idealized  in  this  brilliant  picture. 


POWERS'  ART  GALLERY. 


52  HUGUES  MERLE.  (Fr.  dec’d.)  Paris. 

Pupil  of  Cogniet.  Medals  1861, 1863.  Legion  of  Honor  1866.  Died  1881.  A 
painter  of  great  note. 

HER  IDEAL. 

38  X  52. 

The  earnest  face  and  manly  form,  whose  unexpected  coming  has 
caused  the  fair  object  of  his  visit  to  drop  her  embroidery  for  a  while, 
possibly  suggest  a  prospective  and  not  very  distant  union  of  hand  and 
heart.  The  subject  is  treated  with  all  the  delicacy  and  grace  for 
which  the  artist  is  famous. 


53  L.  BANG.  (Germ.)  Munich. 

COMPARING  NOTES. 

18  X  13. 

These  two  wastrels  are  evidently  exchanging  views  on  the  import¬ 
ant  subjects  of  finance  and  food.  The  speaker  looks  as  though 
detailing  to  his  more  seasoned  elder  some  rebuff  which  he  has  just 
encountered  round  the  corner,  while  attempting  to  get  a  meal  without 
working  for  it.  Communistic  principles  would  soon  take  root  in  this 
soil.  A  clever  little  picture. 


54  C.  KRONBERGER.  (Germ.)  Munich. 

COULDN’T  RESIST  IT. 

12  X  14. 

A  not  impossible  incident  of  real  life  told  with  remarkable  care 
and  skill.  The  younger  of  the  two  luckless  wights  about  to  be 
locked  up  cannot  resist  the  chance  of  annexing  the  watchman’s 
handkerchief.  The  artist  may  mean  to  say  that  if  he  was  not  so 
dreadfully  bent  on  his  work,  as  his  face  and  attitude  show,  his  prop¬ 
erty  might  remain  in  his  pocket. 


55  OTTO  ERDMANN.  (Germ.)  Duesseldorf. 

SECRET  HOMAGE. 

28  X  36. 

A  noble  interior  is  made  the  scene  of  a  little  gallant  episode  needing 
no  explanation. 


MODERIT  OIL  PAIUTIUGS. 


56  N.  SARESI.  (Ital.)  Florence. 

THE  RIVALS. 

20  X  16. 

Preparations  are  clearly  being  made  for  settling  a  title  to  my  lady’s 
favor  by  the  “code.”  The  assistants  are  very  anxious  the  “affair” 
shall  not  be  interrupted. 

57  EUGENE  PRATI.  (Ital.)  Florence. 

Grand  Gold  Medal,  Triennial  Exhibition,  1868. 

THE  MORNING  CALL. 

7x  10. 

58  HERMANN  I.  K.  TEN  KATE.  (Dutch.)  The  Hague. 

Pupil  of  Kruseman  of  Amsterdam.  Commissioner  of  the  Netherlands  to 
the  Exposition  of  1878. 

A  FORCED  CONTRIBUTION. 

32  X  25. 

The  fortune  of  war  has  placed  the  property  of  the  master  of  the 
mansion  at  the  mercy  of  the  stern  commander,  to  whom  he  is 
handing  over  the  key  of  the  strong  box,  which  is  being  carried  in  by 
two  attendants.  The  “law  of  the  stronger”  is  powerfully  empha¬ 
sized  in  this  fine  picture.  The  faces  of  the  chief  actors  as  well  as 
their  costumes  deserve  more  than  a  passing  glance. 

59  R.  S.  ZIMMERMANN.  (Germ.)  Munich. 

BOYS’  INDUSTRIAL  HOME. 

50  X  30. 

Nine  young  waifs  are  here  at  work  in  the  shoemaking  department 
of  the  home,  under  the  eye  of  the  benevolent  brother  who  is  now 
scanning  the  work  of  the  youth  standing  near  him.  His  wards  look 
well-fed,  happy,  and  not  overworked.  This  admirably  painted  pic¬ 
ture  conveys  a  strong,  direct  lesson  in  practical  charity. 

60  RICHARD  S.  ZIMMERMANN.  (Germ.)  Munich. 

An  artist  who  has  made  a  great  reputation  for  his  pictures  of  common  life 

in  Germany. 

PREPARING  FOR  THE  REHEARSAL. 

40  X  25. 

A  band  of  musicians,  assembled  in  a  cottage  in  the  Black  forest, 
are  about  to  rehearse  some  music.  The  gray  headed  old  man  and 
his  opposite  neighbor  at  the  table  are  whistling  the  bass  part,  which 


POWERS'  ART  GALLERY. 


the  former  holds  in  his  hand.  The  leader,  with  his  violin  under  his 
arm,  is  singing  it.  The  viola  player  and  contrabassist  are  tuning 
their  instruments,  while  little  Barelegs  is  trying  his  hand  at  the  horn. 
One  girl  is  at  the  window  looking  out  for  the  laggard  of  the  band, 
while  her  eider  sister  is  busy  at  a  side  table  pouring  out  the  inviting 
looking  Rhine  wine.  In  conception,  drawing,  tone  and  finish  this  is 
an  admirable  performance.  The  glasses  on  the  table  will  give  the 
measure  of  the  care  bestowed  on  every  part  of  this  work. 

61  EMILE  MUNIER.  (Fr.)  Paris. 

Pupil  of  A.  Lucas  and  Bouguereau.  Honorable  Mention,  Paris  Salon. 

FEEDING  THE  PIGEONS. 

13  X  25. 

62  GEORGES  JEAN  VIBERT.  (Fr.)  Paris. 

Pupil  of  Barrias.  Medals  1864,  1867,  1868,  Legion  of  Honor  1870,  med.  3rd 

cl.  1878. 

AN  UNEVEN  GAME. 

18x8. 

The  luckless  hostler  is  in  the  toils.  It  is  easy  to  see  how  the  game 
will  end.  The  friar,  in  whom  he  would  naturally  have  implicit  con¬ 
fidence,  has  one  card  in  his  sleeve  and  another  under  the  heel  of 
his  right  sandal.  All  the  accessories  are  painted  with  the  freshness, 
skill  and  care  which  have  made  this  atrist’s  fame,  while  the  contrast 
between  the  two  faces  is  realistic  and  striking. 

63  JULES  WORMS.  (Fr.)  Paris. 

Pupil  of  Lafosse.  Chev.  of  Legion  of  Honor. 

DEVANT  L’  ALCALDE. 

Before  the  Mayor. 

32  X  28. 

The  feature  of  this  picture  which  first  strikes  one  is  the  pleading 
face  and  gesture  of  the  accused  between  his  two  fair  accusers.  They 
say  as  plainly  as  possible:  “Your  honor,  what  in  the  world  is  a  man 
to  do  in  such  a  fix  as  this?”  The  answering  countenance  of  the 
magistrate  is  not  favorable.  The  beauty  on  the  defendant’s  left  has 
finished  her  evidence;  while,  to  judge  by  the  striking  vigor  of  her 
gesticulation,  the  accuser  in  the  red  bodice  must  be  pressing  home 
her  charge  with  a  torrent  of  invective.  Haply  the  unfortunate  peas¬ 
ant  has  been  too  liberal  in  promises  of  wedlock,  the  evidence  of 


MODERK  OIL  PAINTIilGS. 


which,  in  the  shape  of  letters  and  photographs,  is  being  conned  over 
by  the  mayor’s  clerk,  the  priest,  etc.,  on  the  right.  Everything  in 
this  fine  picture, — faces,  costumes  and  surroundings, — is  thoroughly 
Spanish.  It  is  one  of  the  many  fine  works  with  which  his  journeyings 
in  Spain  inspired  this  gifted  painter. 

64  ALEXANDRE  LOUIS  LELOIR.  (Fr.  dec’d.)  Paris 

Medals  1864,  1868,  1870.  Legion  of  Honor  1876,  Med.  3rd  cl.  1878. 

THE  TEMPTATION  OF  ST.  ANTHONY. 

40  X  28. 

The  famous  recluse,  St.  Anthony,  is  here  represented  as  struggling 
with  one  of  the  temptations  by  which,  according  to  his  biographer 
Athanasius,  he  was  assailed  when  a  hermit  in  the  desert  of  Egypt, 
whither  he  is  stated  to  have  withdrawn  towards  the  latter  part  of  the 
third  centmy,  after  having  sold  all  his  possessions  and  distributed 
the  proceeds  to  the  poor.  His  historian  avers  that  the  devil  having 
tried  the  saint’s  constancy  in  every  other  way,  as  a  last  resource, 
assumed  the  shape  of  lustful  beauties,  such  as  the  two  who  in  the 
picture  are  laying  siege  to  his  virtue.  Horror,  pain  and  vehement 
internal  struggle  are  scored  in  every  line  of  his  countenance,  in  the 
parted  lip,  the  dilated  nostril  and  the  spasmodically  contracted  brow. 
Long  vigils  and  cruel  fasts  have  made  that  strong  but  aristocratie 
face  lean  and  cadaverous.  In  his  anguish,  the  saint  clutches  at  the 
rude  cross  which  all  but  snaps  in  his  grasp.  The  scriptures,  now 
lying  under  the  foot  of  one  of  the  sirens,  the  death’s  head,  water-jug 
and  piece  of  dry  bread  sufficiently  indicate,  in  his  case,  the  daily  food 
supplied  both  to  soul  and  body.  The  modeling,  as  well  as  the  flesh 
painting  of  the  two  female  figures  is  beyond  praise.  The  face  of  the 
saint  is  made  to  convey  his  internal  agony  in  a  most  consummate 
fashion,  while  the  drawing  of  the  hands  is  perfect.  This  is  a  pictnre 
which  it  is  fair  to  call  a  poem  in  color. 

65  ANATOLE  YtLY.  (Fr.  dec’d.)  Paris. 

Pupil  of  Signol.  Medals  in  1874, 1880. 

LE  CCEUR  S’  EVEILLE. 

The  Heart’s  Awakening. 

58  X  96. 

This  eminent  painter  here  introduces  to  us  a  beautiful  damsel  of  high 
degree  just  as  she  is  passing  the  threshold  of  womanhood,  and  those 
feelings,  incidental  to  her  age,  which  can  be  neither  defined  nor 
Analyzed,  are  now  assuming  the  foiTQ  of  a  yearning  after  some  such 


POWERS^  ART  GALLERY. 


ideal  cavalier  as  the  one  about  whom  the  stately  beldame  above  her 
has  just  been  reading.  Her  fancy  has  been  fed  upon  such  romances 
for  some  time  past,  but  this  particular  one  has  perceptibly  quickened 
her  pulse.  This  picture  is  poetic  and  classic  in  conception,  and  bold,, 
broad  and  free  both  in  feeling  and  treatment.  It  is  needless  to  dwell 
upon  its  great  merits  in  detail.  It  is  impossible,  however,  not  to 
draw  attention  to  the  eloquent  manner  in  which  the  painter  makes 
each  of  those  two  faces  tell  its  own  story.  The  grandmother  in  hei 
sombre  garb,  with  all  the  illusions  of  life  behind  her,  the  traces  of 
life’s  struggle  from  which  there  is  no  escape,  even  in  her  high  station, 
plainly  written  on  her  pallid  lineaments ;  the  youthful  beauty  in  her 
damask  and  satin  looking  into  the  future  with  joy  and  hope,  yearning 
and  expectant,  boding  no  unkind  treatment  from  the  great  world  into 
which  she  will  soon  make  her  entrance,  of  which,  too,  her  lovely, 
innocent  countenance  shows  she  knows  so  little,  and  the  face  above 
hers  knows,  ah !  so  much ! 

66  DANIEL  HUNTINGTON.  (Amer.)  New  York. 

President  of  the  National  Academy. 

PRINCESS  ELIZABETH. 

20  X  24. 

Among  the  innocent  victims  of  the  first  of  the  French  Revolutions 
was  the  subject  of  this  picture.  Princess  Elizabeth,  sister  of  Louis 
XVI.  She  was  guillotined  in  1794  and  is  here  represented  as  reading 
some  illuminated  prayer  book. 

67  JEAN  CHARLES  MEISSONIER.  (Fr.)  Paris. 

Pupil  of  his  father,  Jean  Louis  Ernest  Meissonier.  Medal,  Paris  Salon,  1866. 

THE  ARTISTS’  LEAVE-TAKING. 

20  X  26. 

The  infiuence  of  the  father’s  teaching  and  style  are  quite  percep¬ 
tible  in  this  attractive  work. 

68  AUGUST  HAGBORG.  (Swede.)  Gothenburg. 

Medal  3rd  cl.,  Paris  Salon,  1879. 

WAITING  FOR  THE  BOATS. 

18  X  14. 

^Mother  and  child  are  looking  seaward  for  the  return  of  the  fishing 
boats  on  one  of  which  husband  and  father  is  at  work.  The  little 
one  in  the  mother’s  arms  is  pointing  them  out.  Into  this  picture. 


MODERN  OIL  PAINTINGS. 


painted  almost  wholly  in  gray  tints,  the  artist  has  contrived  to  throw 
an  extraordinary  amount  of  light  and  breeze.  That  long,  cold  stretch 
of  strand  is  a  perfect  piece  of  perspective  painting,  and  is  fully 
equalled  in  point  of  merit  by  those  luminous  masses  of  gray  clouds. 

69  Ll:ON  IlMILE  CAILLE.  (Fr.)  Paris. 

Pupil  of  Cogniet. 

THE  HARPIST. 

4x9. 


70  ANTON  SEITZ.  (Germ.) 

One  of  the  greatest  of  German  “  genre  ”  painters. 

THE  CARD  PLAYERS. 

6x8. 

Munich. 

71  H.  BRELING.  (Germ.) 

THE  JOLLY  FIDDLER. 

6  X  10. 

Munich. 

72  V.  G.  STIEPIVICH. 

New  York. 

,  INDOLENCE. 

22  X  25. 

A  pretty  Egyptian  woman  is  made  to  personify  the  thoroughly 
Oriental  virtue  (?)  indicated  in  the  title  given  the  picture.  This 
performance  has  promise  in  it. 


73  H.  E.  REYNTJENS.  (Belg.) 

THE  TEA-PARTY. 

7x6. 

Brussels. 

74  A.  SCHWARZ.  (Germ.) 

GIPSY  GIRL. 

15  x  19. 

Berlin. 

75  GEORGE  H.  McCORD.  (Amer.) 

AUTUMN  IN  WESTCHESTER. 

8x  10. 

New  York. 

powers’  art  gallery. 


76  A.  RIGOK  (Fr.)  Paris. 

WEDDING  AT  THE  CASTLE. 

22  X  26. 

This  is  a  dashing,  freely  handled  sketch,  full  of  bright  coloring, 
as  becomes  such  a  subject. 

77  PIO  RICCI.  (Ital.)  Florence. 

THE  TEMPTATION. 

8x10. 

The  tempter  has  opened  a  jewel  case  and  is  offering  the  anxious 
looking  object  of  his  advances  a  trinket,  in  order  to  overcome  her 
manifest  fear  and  reluctance.  This  is  a  repulsive  but  faithfully 
outlined  episode,  the  chief  feature  of  which  is  the  uncommonly  well 
drawn  and  painted  face  of  the  woman. 

78  A.  D.  DILLENS.  (Belg.)  Antwerp. 

Gold  Medal,  1855. 

THE  BROKEN  BOWL. 

6x7. 


79  L^:ON  HA  YON.  (Fr.)  Paris. 

Pupil  of  Benouville,  Picot  and  Pils.  Medal  3rd  cl.  1883. 

THE  OLD  CARDINAL. 

17  X  22. 

The  old  cardinal  is  taking  an  airing  in  one  of  the  vestibules  of  the 
palace.  His  decrepit  form  and  bowed  head  are  sharply  marked 
against  the  stalwart  friar  on  whose  arm  he  is  leaning,  and  who  is 
taking  a  passing  glance  at  the  marble  group  of  ‘  ‘  Diana  the  Huntress.  ” 
A  Dominican  monk  and  one  of  the  secular  clergy  are  in  the  back¬ 
ground. 

80  EMIL  PREUSS.  (Germ.)  Brussels. 

THE  WATCH  DOG. 

36  X  46. 

Copy.  Original  in  the  Wurtz  Museum,  Brussels. 

81  M.  L.  WOOD.  (Amer.) 

OUT  FOR  THE  DAY. 

5x6. 


Munich. 


MODEKN  OIL  PAINTINGS. 


82  C.  PECRUS.  (  .) 

FAINTING  BY  THE  WAY. 

20  X  24. 

A  mother  attempting  to  revive  her  boy,  who  has  been  overcome  by 
the  fatigue  of  the  journey. 


83  ADOLPHE  GILLOK  (Fr.)  Paris. 

Medal,  Paris  Salon,  1867. 

THE  SHRIMP  GATHERER. 

8  X  14. 

During  ebb  tide,  the  shrimp  is  caught  in  nets  such  as  the  one  seen 
in  this  painting. 


84  GEORGE  H.  STORY.  (Amer.)  New  York. 

Associate  of  the  National  Academy. 

CAPE  ANN  FISHERMAN. 

12  X  18. 

A  conscientious  little  study  of  one  of  the  weather-bea  ten  toilers  of 
the  eastern  coast. 

85  BEYSCHLAG.  Copy  by  Houn,  on  Porcelain. 

PSYCHE. 

9  X  16 

86  TESCHENDORF.  Copy  by  Meinelt,  on  Porceiain. 

GIPSY  WOMAN. 

10  X  14. 

87  KNAUS.  Copy  by  Mueller,  on  Porcelain. 

THE  LITTLE  PILFERER. 

7x9. 


88  MAX.  Copy  by  Mueller,  on  Porcelain. 

THE  LAST  TOKEN. 

7  x  9. 


powers’  art  gallery. 


89  A.  KOWALSKI.  (Germ.)  Municli. 

RIDE  IN  THE  PARK. 

18  X  12. 

The  costumes  indicate  that  the  cavaliers  belong  to  the  seventeenth 
century.  The  whole  scene  is  very  natural  and  is  accurately  drawn. 
The  horses  will  bear  close  inspection :  they  are  drawn  and  painted 
with  uncommon  skill. 

90  CASIMIR  LEMAIRE.  (Ft.)  Paris. 

A  HOLIDAY.  Near  Fontainebleau,  1789. 

52  X  34. 

A  light-hearted,  gay  company  of  dandies,  middle  aged  and  young, 
civil  and  military,  with  a  sprinkling  of  more  or  less  attractive  damsels 
have  been  enjoying  a  holiday  stroll  on  the  outskirts  of  Fontainebleau. 
It  is  the  year  1789.  That  dreadful  period  of  French  history,  graph¬ 
ically  termed  by  the  French  “  The  Terror,”  had  not  yet  blanched  the 
face  of  France.  The  gay  throng  has  just  come  upon  a  band  of 
strolling  showpeople,  called  in  France  “  saltimbanques.”  They  have 
seen  the  show  and  are  now  handing  that  gauzily  clad  girl  with  the 
plate  about  ten  times  as  much  as  they  would  give  one  of  maturer 
charms.  The  pieces  they  are  handling  are  gold.  The  performing 
dogs  have  been  through  their  tricks:  the  brindle  bulldog,  with  stolid 
sagacity,  is  snatching  a  hasty  “dozen  winks;”  the  middle  poodle  is 
looking  at  the  cards,  turning  over  in  his  mind  the  countless  thrashings 
it  took  to  bring  him  to  his  present  proficiency.  The  band  has  struck 
up  in  order  to  attract  a  fresh  crowd,  and  the  clown  on  the  baiTel  is 
adding  his  shrill  cry  to  the  blare  of  the  trombone  and  the  squeak 
of  the  clarionette.  This  is  a  charming  and  beautifully  executed  con¬ 
ception. 

9 1  MAX.  Copy  by  Bauer,  on  Porcelain. 

THE  CHRISTIAN  MARTYR. 

13  X  18. 

92  GEORGE  WRIGHT.  (Amer.)  Philadelpnia. 

STEAMER’S  SMOKING  ROOM.— WET  DAY. 

32  X  16. 

These  who  have  crossed  the  Atlantic  in  what  sailors  call  “  dirty  ” 
weather,  will  appreciate  this  picture.  Killing  time  under  such  circum¬ 
stances  is  a  serious  business,  in  which  the  present  company  seems  to 
succeed  but  indifferently 


MODERN’  OIL  PAIIfTlKOS. 


93  LUDWIG  KNAUS.  (Germ.)  Berlin. 

Pupil  of  Jacobi  and  of  the  Academy  of  Duesseldorf,  under  Sohn  and 
Schadow.  Member  of  the  Academies  of  Berlin,  Vienna,  Munich,  Amster¬ 
dam,  Antwerp  and  Christiania.  Medals  2nd  cl.  1853, 1st  cl.  1855 ;  Rap.  1857  and 
1859.  Chev.  of  the  Legion  of  Honor  1859 ;  Grand  Medal  of  Honor  1867 ;  Oificer 
of  the  Legion  of  Honor  1867. 

THE  BUTCHER  BOY. 

20  X  24. 

Knaus  shows  in  this  remarkable  work  what  genius  can  do  with 
oven  the  most  commonplace  subject.  Everything  about  this  curley- 
headed  little  rogue  bespeaks  delight  in  his  business.  He  is  a  born 
butcher,  and  right  good-looking.  He  has  just  finished '^dressing” 
one  “subject,”  as  the  doctors  say,  has  hanged  up  the  “pluck”  on 
the  right,  and  is  whetting  his  knife  for  a  second  operation,  “I’m  the 
boy  can  show  them  how  to  do  it  ”  is  written  all  over  his  smiling  face. 
The  drawing,  expression  and  coloring  of  this  otherwise  unattractive 
subject  is  perfection.  The  painting  of  the  face,  as  well  as  that  of  the 
rude  clothing,  is  done  with  a  dash  and  ease  which  none  but  consum¬ 
mate  artists  command.  Nor  should  the  admirable  drawing  and 
coloring  of  the  arms  and  hands  pass  unnoticed.  Few  pictures  dealing 
with  this  class  of  subject  equal  this  bright,  realistic  creation. 


94  BEYSCHLAG.  Copy  by  Bauer,  on  Porcelain. 

SPRING. 

6x9. 

95  A.  KAUFFMANN.  Copy  by  Stabler,  on  Porcelain 

VESTAL  VIRGIN. 

12  X  14. 

The  vestal  virgins,  originally  four,  but  subsequently  six  in  number, 
were  dedicated  to  the  service  of  the  goddess  of  Yesta,  the  tutelary 
divinity  of  the  whole  Latin  people.  Their  term  of  service  was  thirty 
years.  They  were  chosen  for  this  service  between  the  ages  of  six 
and  ten  years.  During  their  term  they  were  bound  to  chastity, 
violation  of  which  was  punished  by  their  being  interred  alive  in  an 
underground  vault  near  the  Colline  Gate,  at  Rome.  Their  chief 
duty  was  to  keep  the  fire  perpetually  burning  on  the  altar  of  Vesta. 
Hence  they  are  usually  painted  with  a  lighted  lamp  as  their  ‘  ‘attribute.  ” 


powers’  art  gallery. 


96  MEYER  VAN  BREMEN.  Copy  by  Stabler,  on  Porcelain, 

THE  RETURN. 

6x9. 


97  ^:DOUARD  RICHTER.  (Ft.)  Paris, 

Pupil  of  Hebert  and  Bcnnat.  Honorable  Mention,  Paris  Salon. 

SAPPHO. 

25  X  47. 

The  sut^ect  of  this  spirited  painting  was  one  of  the  greatest  lyric 
poets  of  Greece.  She  was  born  either  at  Mytelene  or  at  Eresos  in 
Lesbos.  Her  poems  were  the  admiration  of  ancient  Greece  from  the 
time  of  Solon  downwards.  Fragments  of  the  nine  books  of  poems 
she  is  said  to  have  written  are  all  that  remain.  But  her  matchless 
ode  to  Aphrodite  is  evidence  of  her  great  genius.  The  painter  has 
given  us  an  ideal  conception  of  her  in  the  first  blush  of  womanhood. 


98  WM.  H.  BEARD.  (Amer.)  New  York. 

Member  of  the  National  Academy. 

VOICES  OF  THE  NIGHT. 

30  X  20. 

A  very  quaint,  original  conceit.  Anyone  who  will  lend  ears  to  his 
imagination  will  here  get  music  of  which  a  little  will  go  a  long  way. 


99  F.  ROYBET.  (Fr.)  Paris. 

Medal,  Paris  Salon,  1866. 

VELASQUEZ  PAINTING  THE  INFANTA. 

15  X  24. 

I  In  this  superb  work  Roybet  represents  the  great  Spanish  artist 
painting  Margaret,  one  of  the  royal  princesses  of  the  House  of  Spain. 
The  portrait  of  the  child  is  already  ‘  ‘  roughed  in,  ”  and  the  painter  is 
studying  his  subject  for  the  traits  and  expression  which  he  will  pres¬ 
ently  transfer  to  the'  canvas.  The  richness  of  the  elfects  produced 
in  this  pictm’e  by  the  judicious  contrast  of  low  tones  of  color  is 
surprising. 


MODEKJ^-  OIL  PAINTII^GS. 


100  JACQUES  EDMOND  LEMAN.  (Fr.)  Paris. 

Honorable  Mention,  Paris  Salon.  Chevalier  of  the  Order  of  Francis  Joseph 
of  Austria  and  of  the  Order  of  Leopold  of  Belgium. 


HOMAGE  TO  THE  DAUPHIN,  1638. 

76  X  42. 

This  is  a  worK  which  deserves  long  ana  minute  study.  It  is  from 
the  Paris  Salon  of  1876. 

The  infant  son  and  heir  of  Louis  XIII  and  Anne  of  Austria  is  being 
presented  to  the  court  to  receive  its  homage.  This  is  the  royal  babe 
who,  in  after  years,  as  Louis  XIV,  walked  booted  and  spurred  into  the 
legislative  assembly  of  France  and  told  her  representatives  to  go  home, 
as  he  intended  to  govern  without  them.  The  servile  crowd  of  gran¬ 
dees,  who  are  here  bowing  before  the  infant,  heard  from  the  lips  of 
the  man  the  historic  words:  “I  am  the  State”  (L’  etat,  c’est  moi!). 

It  is  difficult  to  repress  such  reflections  while  viewing  this  magnifi¬ 
cent  revival  of  that  first  court  pageant  in  which  the  royal  child  took 
part.  To  re-create  such  a  scene,  even  though  but  of  yesterday,  is  a 
work  of  great  labor.  But  to  conjure  up  from  the  past,  after  a  lapse  of 
two  and  a  half  centuries,  a  court  solemnity  of  this  description;  to 
bring  the  dead  to  life,  to  clothe  them  with  historical  accuracy,  and 
make  them  move,  speak  and  act,  as  the  painter  has  done  in  this  work, 
is  a  much  more  arduous  undertaking.  The  amount  of  study  required 
for  such  a  picture  is  difficult  to  imagine.  Every  detail  of  the  archi¬ 
tecture  and  decoration,  every  face,  figure  and  costume  demanded 
accurate  and  patient  research.  And  yet  in  this  noble  canvas  their  is  ^ 
not  a  trace  of  the  stiffness  which  might  to  some  extent  be  expected. 
Everything  is  freedom,  ease,  grace,  lightness  and  beauty.  The  group¬ 
ing  and  coloring  are  masterly.  The  joyous  queen  mother  and  the 
royal  father  will  be  at  once  recognized.  The  other  personages, 
beginning  on  tlie  left,  are  the  following : 


Lady  of  Honor  (in  front), 
Madame  de  Lausac, 

Princess  de  Guemene, 

Princess  de  Conde  (seated). 
Countess  de  Soissons, 

Duchess  de  la  Tremouille, 
Duchess  de  Montpensier  (young 
Duchess  de  Bouillon, 


Marshal  de  Bassompierre, 
Duke  de  Chevreuse, 

Duke  de  Longueville, 

Duke  de  la  Tremouille, 
Duke  de  Liancourt, 

Duke  de  Chavigny, 
girl).  Bishop  of  Beauvais, 

''King’s  Confessor). 


) 


POWERS’  ART  GALLERT. 


101  DAVID  COL.  (Belg.)  Antwerp. 

Pupil  of  De  Keyser.  Medal,  Vienna  Exposition,  1873.  Chevalier  of  the 
Order  of  Leopold  of  Belgium. 

A  REGULAR  CUSTOMER. 

9  X  11. 

This  celebrated  painter  of  common  life  subjects  has  here  introduced 
us  to  a  regular  old  customer  of  the  cafe  in  which  he  is  sitting.  The 
good-natured  old  gentleman  has  come  across  £om3  funny  anecdote  in 
the  newspaper;  he  has  repeated  it  to  the  hostess,  and  is  now  enjoying 
a  hearty  laugh  over  it.  Great  fidelity  to  nature  characterizes  this 
dainty  little  picture. 

102  FRAN.  LAFEN.  (Fr.)  Paris. 

SOLITUDE. 

28  X  36. 

1 03  MxAX.  Copy  by  Luckhardt,  on  Porcelain. 

THE  ORPHAN  CHILD. 

9  X  13. 

104—125  CRI:TI.  (Ital.)  Rome. 

ITALIAN  TYPES. 

126—127  W.  MENZLER.  (Germ.)  Munich. 

TWO  CHARACTER  STUDIES. 

19  X  25. 

The  placid  beauty  of  these  two  faces  and  the  graceful  costuming 
of  the  head  and  bust  will  at  once  strike  the  eye.  They  are  probably 
portraits,  and  certainly  do  no  injustice  to  the  beautiful  originals. 

128  JOSEPH  COOMANS.  (Belg.)  Brussels. 

PHIDIAS  IN  HIS  ATELIER. 

35  X  25. 

The  greatest  sculptor  of  ancient  Greece  is  here  represented  in  his 
studio,  surrounded  by  graceful  maidens  and  a  pair  of  visitors. 
Phidias  was  born  between  500  and  490  B.  C.  and,  under  the  brilliant 
administration  of  Pericles,  was  made  general  superintendent  of  all 
the  great  works  of  art  undertaken  during  that  period. 

129—146  CARBONE  (Ital.) 

ITALIAN  TYPES. 


Rome. 


MODERi^’  OIL  PAINTINGS. 


147  NECHUTREY.  (Germ.)  Vienna. 

Pupil  of  Wilhelm  von  Kaulbach.  Chevalier  of  the  Order  of  Franz  Josef; 
knighted  hy  the  Emperor  of  Austria. 

THE  HUSSITES  BEFORE  NAUMBURG,  1432. 

68  X  50, 

Procopius,  tlie  general  of  the  Hussite  army,  is  here  represented 
listening  to  the  mute  appeal  of  the  children  of  the  fortress  of  Naum- 
burg,  before  which  his  forces  sat  down  during  the  long  war  which 
followed  the  burning  of  J  ohn  Huss,  the  Bohemian  reformer,  on  the 
6th  of  July,  1415.  It  is  situated  in  Prussian  Saxony,  and  is  sur¬ 
rounded  by  vine-clad  hills.  The  victorious  general  had  threatened  to 
give  everything  in  the  fortress  up  to  fire  and  the  sword.  In  order  to 
touch  his  heart,  a  deputation  of  children  was  sent  with  the  key  of  the 
place  and  a  petition  to  spare  the  lives  of  the  inhabitants.  Night  is 
settling  down  on  the  city.  The  first  faint  glimmerings  of  the  camp 
fires  are  seen  in  the  distance.  The  troops  are  ready  for  the  assault. 
In  the  foreground,  the  three  foremost  little  applicants  eye  the  dreadful 
warrior  with  wondering  fear,  but  dimly  conscious  of  the  terrible  fate 
their  innocent  appeal  is  warding  o3  from  the  beleaguered  city. 
Procopius,  clad  from  head  to  foot  in  chain  armor,  is  surrounded  by 
his  stern  body-guard.  Surprise  and  pleasure  beam  from  his  counte¬ 
nance  as  he  remembers  his  own  childhood’s  days,  and  for  the  sake  of 
them  and  the  little  innocents  who  recall  them  to  his  memory,  is 
swayed  to  mercy  towards  all. 


148  AUGUSTE  HAGBORG.  (Swede.)  Gothenburg. 

Pupil  of  the  Academy  of  Fine  Arts,  Stockholm,  and  of  Palmaroli.  Med. 
3rd  cl.  1879. 

OCTOBER.  POTATO-GATHERING. 

76  X  100. 

Hagborg  here  tells  the  story  of  peasant  life  and  toil  with  great 
earnestness  and  force.  The  three  farm  hands  are  out  at  work  in  the 
gray  morning.  The  self -concentrated,  patient,  resigned  look  of  the 
woman;  her  deep  thoughtfulness,  which  has  borne  her  mind  far 
away  from  her  present  rude  occupation,  are  strongly  brought  out. 
The  refinement  of  her  features  is  well  set  off  against  the  massive  jaw 
and  matter-of-fact  face  of  the  man  who  is  emptying  the  potatoes  into 
the  sack.  The  gray  light  of  the  sky  is  diffused  over  the  field  from 
the  foreground  away  into  the  distance  in  a  most  masterly  fashion. 


POWEKS’  ART  GALLERY. 


The  artist  invites  us  to  study  his  two  figui’es  and  to  ponder  on  their 
lot.  They  deserve  it,  for  from  such  men  and  women  as  these  the 
world  recruits  its  best  brains.  This  is  a  noble  picture,  in  which  the 
influence  of  J ean  Francois  Millet  is  everywhere  apparent. 

i 

149  CHARLES  LOUIS  MULLER.  (Fr.)  Paris. 

Pupil  of  Gros  and  Cogniet.  Medals,  3rd  cl.  1838,  2nd  cl.  1846, 1st  cl.  1848. 
Chev.  of  Legion  of  Honor  1849 ;  med.  1st  cl.  1855  (Paris  Exposition).  Officer 
of  the  Legion  of  Honor  1859 ;  member  of  the  Institute,  1864. 

LE  ROND  DE  MAY. 

May  Dance. 

42  X  30. 

A  bevy  of  beautiful  damsels,  with  attendant  swains,  are  dancing 
around  the  Mapyole.  The  composition  and  coloring  of  this  work  are 
worthy  of  the  artist’s  high  reputation. 


150  E.  BONTIBONNE.  (Fr.)  Paris. 

SKATING,  BOIS  DE  BOLOGNE. 

37  X  25. 

The  elegance  which  the  upper  classes  in  France  carry  into  every¬ 
thing,  is  shown  in  this  skating  scene.  All  is  in  perfect  taste.  The 
joyously  surprised  face  of  the  lady,  to  whom  an  admirer  has  just 
brought  a  superb  bouquet,  and  the  occupants  of  the  sled,  are  samples- 
of  very  careful  work. 

151  BAREND  WYNVELD.  (Dutch.)  Amsterdam. 

Professor  in  the  Academy  of  Fine  Arts,  Amsterdam. 

DEATH 'of  ANGELUS  MERULA,  1557. 

62  X  42. 

Merula  was  one  of  the  victims  of  the  persecution  by  which  Philip 
II.,  of  Spain,  thought  to  uproot  Calvinism  among  the  Dutch,  He  is 
shown  in  the  painting  as  having  just  died  on  the  spot  where  he  was 
to  have  been  burned  alive.  The  ox-cart,  in  which  he  has  been  drawn 
to  the  place  of  execution,  is  on  the  right.  The  executioner  is  asking 
the  inquisitors  what  to  do  with  the  corpse.  They  tell  him  to  carry 
out  the  sentence  on  it.  This  was  done  on  the  26th  of  July,  1557. 
The  hut-like  structure  is  the  narrow  enclosure  in  which  he  was  to 
have  been  burned. 


MODERJ^-  OIL  PAINTINGS. 


152  WILHELM  SCHUTZE.  (Germ.)  Munich. 

BLIND  MAN’S  BUFF. 

62  X  38^ 

The  participants  in  this  game  are  all  enjoying  themselves,  except 
the  little  fellow  near  the  balcony,  who  is  chewing  the  cud.  of  some 
grievance. 


153  FRIEDRICH  SIMLER.  (Germ.)  Frankfurt 

THE  MEET. 

13x9. 

A  fox-hunting  party  riding  to  “  cover.” 


154  J.  J.  ENNEKING.  (Amer.)  Hyde  Park,  Mass. 

A  LANDSCAPE. 

14  X  10. 


155  OTTO  SEITZ.  (Germ.)  Munich. 

THE  OLD  MINER. 

8x10. 

The  combinatior  of  wrinkles,  toothlessness,  keenness  and  dirt  in 
this  face,  is  a  wonder. 


156  MARIE  JOSEPHINE  NICHOLAS.  (Fr.)  Paris. 

Pupil  of  M.  Chaplin. 

THE  TOILETTE. 

21  X  31. 

An  interior  study  of  merit. 


157  BARTOLOMEO  PAGANI.  (Ital.)  Rome. 

ROMAN  CARNIVAL. 

29  X  39. 

The  scene  of  the  carnival  is  the  Corso,  one  of  the  main  streets  of 
Rome.  The  crowd  amuses  itself  by  all  manner  of  tricks  and  antics. 
Tiny  parcels  of  candies  and  flour,  or  of  flne  gravel  and  lime  are  thrown 


powers’  art  gallery. 


at  and  by  the  moving  tbrong.  Fantastic  dresses  are  vrorn.  Riderless 
unbridled  borses  run  races  down  the  Corso.  On  the  last  night,  every 
body’s  chief  object  is  to  put  out  everybody  else’s  light, 

• 

158  ALBERT  DILLENS.  (Belg.)  Brussels* 

THE  PROPOSAL. 

21  X  37. 

Judging  from  the  look  of  the  party  appealed  to,  the  artist  hardly 
thought  the  answer  was  going  to  be:  “yes!” 

159  PETER  KRAE:MER.  (Germ.)  Munich, 

A  KNIGHT. 

14  X  18, 

Shrewd  benevolence  is  stamped  on  this  strongly  painted  counte¬ 
nance, 

1 60  C.  COMTE,  Copy  by  Y,  Breton, 

HENRY  III  AND  THE  DUKE  OF  GUISE. 

40  x  28. 

Original  in  the  Luxembourg  Galleiy,  Paris. 

The  duke  of  Guise,  here  shown  as  meeting  the  French  King,  Henry 
of  Xavarre,  is  the  celebrated  Henry  I  of  Lorraine,  He  was  a  distin¬ 
guished  warrior,  but  having  headed  the  League,  and  defeated  the 
King,  he  was  induced  to  negotiate,  instead  of  relying  on  the  people, 
who  had  risen  in  his  favor.  He  was  promised  all  he  demanded,  but 
the  King  had  him  assassinated  in  his  palace  and  is  said  even  to  have 
kicked  his  lifeless  body.  His  brother,  the  cardinal  of  Lorraine,  was 
also  killed,  and  the  bodies  of  both  were  burned  and  the  ashes  scat 
tered  to  the  winds.  This  was  done  on  the  23rd  of  December,  1588, 
the  day  after  the  meeting  which  is  the  subject  of  this  pictm-e.  The 
place  of  the  meeting  is  the  Castle  of  Blois,  about  thirty-five  miles 
south-west  of  Orleans. 

161  F.  CHEXX.  (Fr.)  Copy  by  V.  Breton. 

THE  STRAGGLERS. 

46  X  30. 

Original  in  the  Luxembourg  Gallery. 

A  few  soldiers  who  have  fallen  out  of  the  ranks  of  a  regiment  on 
the  march,  and  an  ambulance  wagon,  in  a  snow-covered  landscape. 


MODEKK  OIL  PAIIs^TIIIGS. 


162  C.  LAREN.  (Eng.)  London. 

THE  GIPSIES’  HOME. 

45  X  30. 

An  original  painting  from  life.  The  artist  seems  to  have  come 
upon  some  semi-domesticated  gipsies,  and  to  have  transferred  a 
repulsive  sample  of  them  to  his  canvas. 

163  MICHAEL  ARNOUX.  (Ft.)  Paris. 

Pupil  of  Edouard  Fr^re. 

THE  OLD  HUNTER. 

15  X  18. 

164  A.  MUNZEL.  (Germ.)  Munich. 

PRESSING  HIS  SUIT. 

17  X  21. 

The  stalwart-looking  visitor  has  found  something  much  more 
worthy  of  his  attention  than  the  fruit  to  which  he  is  invited. 

165  FRED.  FLIER.  (Dutch.)  Amsterdam. 

.  LANDSCAPE  AND  CATTLE. 

15  X  13. 

The  animals  in  this  picture  are  very  well  painted,  as  is  the  storm 
effect  in  the  middle-distance. 


166  W.  GAUL.  (Amer.)  New  York. 

THE  SUMMER  FIELDS. 

21  X  15. 

167  A.  HUERPOEREUS.  (Dutch.)  Amsterdam. 

WOODLAND  SCENE. 

24  X  18. 

1 68  OTTO  R.  JACOBI.  (Germ.)  Rochester. 

THE  GIPSY  FORTUNE  TELLER. 

21  X  15. 

Two  country  girls  have  stolen  in  to  the  old  hag  to  get  their  fortunes 
told.  A  weird  composition. 


powers’  art  gallery. 


169  Mme.  MARIE  NICHOLAS.  (Ft.)  Paris 

Pupil  of  Chaplin.  Well-known  painter  of  interiors. 

WINDING  THE  YARN. 

16  X  21. 

The  artist  has  surrounded  this  every-day  scene  with  the  charm 
attaching  to  correct  drawing  and  well-balanced  coloring. 


170  S.  DELLA  VALENTINA.  (Ital.)  Venice. 

VENETIAN  WATER  GIRL. 

12  X  14. 

This  is  one  of  the  girls  who  make  a  living  by  selling  water  in 
Venice,  where  the  only  drinking  water  is  brought  from  the  main¬ 
land  in  boats,  or  caught  from  the  roof  when  it  rains.  This  is  a  very 
neat  bit  of  figure  and  perspective  painting. 


171  ALFRED  PERKINS.  (Amer.)  Rochester. 

COHASSET  COVE.  MORNING. 

48  X  26. 

The  effect  of  the  morning  mist  is  very  truthfully  rendered  in  this 
canvas. 

172  ACHILLE  LEONARDI.  (Ital.)  Rome. 

BEATRICE  CENCI  IN  PRISON. 

68  X  52. 

Guido  Reni  is  here  represented  as  taking  Cenci’s  portrait,  the  day 
before  her  execution,  which  occurred  September  11th,  1599.  She 
was  forced,  by  horrible  tortures,  to  admit  her  complicity  in  the 
murder  of  her  father,  a  noble  villain  who  was  assassinated  at  the 
instigation  of  his  own  wife.  She  was  beheaded  and  buried  in  San 
Pietro  in-Montorio,  Rome. 


173  J.  W.  FALKNER.  (Amer.) 

JUST  MISSED  IT. 

14  X  9. 

The  wily  fox  has,  this  time,  to  be  satisfied  with  a  mouthful  of 
feathers. 


MODERI^-  OIL  PAINTINGS. 


174(304)  A.  DEG  AULT.  (Fr.)  Paris. 

PAGE  AND  PARROT 

5x8. 


175  GAETANO  CHIERICI.  (Ital.)  Milan. 

A  skilful  painter  of  domestic  interiors. 

MATERNAL  HAPPINESS. 

35  X  28. 

176  UNKNOWN  ARTIST. 

DEAD  GAME. 

20  X  24. 


177  T.  W.  WOOD.  (Amer.)  New  York. 

Member  of  the  National  Academy. 

“I  RECKON.” 

14  X  20. 

The  sturdy  farmer’s  face  and  hands  tell  the  story  of  his  calculation 
with  great  directness.  The  fruits  of  the  earth  on  which  he  is  “  reck¬ 
oning  ”  are  evidently  painted  from  nature,  and  are  very  well  done. 


178  CHIAVICI.  (Ital.)  Rome. 

STORM  IN  THE  MOUNTAINS. 

20  X  24. 

A  family  and  a  couple  of  monks  seeking  the  dangerous  shelter  of  a 
hig  tree  during  a  storm. 


179  VAN  MUYDEN.  Copy. 

MOTHER  AND  CHILD. 

21  X  25. 

An  extremely  good  copy  of  the  original  which  is  in  Mazzolini’s 
Gallery,  Rome. 


POWEKS’  AKT  GALLEKY. 


180  J.  OE  EAGER.  (Germ.)  Frankfurt. 

WHAT  NEXT  ? 

16  X  20. 

Having  exhausted  the  preliminary  commonplaces,  the  matron  is 
looking  for  something  to  fill  up  the  blank  paper  before  her,  and, 
seemingly,  does  not  find  it. 


181  FRANCIS  BOUCHER.  (Fr.) 

Born  1704.  Died  at  Paris,  1770. 

PASTORAL  SCENE. 

45  X  35. 

Conventional  shepherds  and  shepherdesses,  of  the  Marie  Antoinette 
type  at  Trianon,  are  ready  for  the  inevitable  love  making.  This 
picture  is  a  good  example  of  the  style  of  art  current  and  fashionable 
in  Boucher’s  time. 


182  V.  DEVOS.  (Belg.)  Brussels. 

THE  PETS  ALARMED. 

45  X  32. 

An  attempt  to  depict,  in  animals,  the  consciousness  of  mischief 
done,  and  consequent  fear:  a  most  difficult  undertaking. 


183  V.  GIOVANNINI.  (Ital.)  Rome. 

THE  APPIAN  WAY. 

38  X  18. 

In  ancient  times,  this  was  called  the  queen  of  roads  (regina  viarum.) 
It  was  commenced  in  313  B.  C.,  under  Appius  Claudius  Ccecus,  and 
was  subsequently  carried  as  far  as  Brundusium,  the  modern  Brindisi. 
Its  cost  must  have  been  prodigous,  as  the  pavement  consisted  of  large, 
six-sided  blocks  of  stone  fitted  together  with  the  greatest  nicety,  so  as 
to  form  one  smooth  mass.  The  foundation  was  also  laid  with  the 
greatest  care.  The  land  on  either  side  was  a  favorite  burial  place 
with  the  ancient  Romans,  Pius  IX.  had  eleven  miles  of  it  uncovered 
from  the  accumulated  rubbish  of  ages.  This  part  now  forms  one  of 
the  finest  drives  out  of  Rome. 


MODERU-  OIL  PAINTINGS. 


184  V.  GIOVANNINI.  (Ital )  Rome 

THE  ROMAN  CAMPAGNA. 

35  X  19 

The  Campagna  is  the  country  lying  between  the  Sabine  hills  and 
the  sea.  The  lakes,  which  are  numerous,  are  the  craters  of  extinct 
volcanoes.  The  ruined  arches  in  the  distance  are  portions  of  the 
Claudian  aqueduct,  built  by  the  Emperor  Claudius  (A.  D.  50),  and 
running  to  the  mountains  on  the  East,  a  distance  of  fifty-eight  and 
one  half  miles.  The  peculiar  atmospheric  effects  of  the  Campagna  are 
fairly  rendered  in  these  pictures 


185—186  O  COSTA  (Ital.)  Florence. 

A  deaf  and  dumb  painter, 

GAME  PIECES, 

25  X  32. 

The  canvas  is  painted  to  imitate  wood,  and  the  game  is  very  truth¬ 
fully  drawn  and  colored. 


187  THEODORE  RABE.  (Germ.)  Berlin 

THE  DUET. 

31  X  45. 

The  music  may  be  a  duet,  but  the  artist  very  clearly  hints  that  the 
hearts  are  beating  in  unison. 


188  W.  DITTERMAN.  (Germ  )  Berlin. 

THE  FORAGERS. 

33  X  24. 

Troopers  are  returning  to  camp  along  a  snow-covered  highway, 
laden  with  all  kinds  of  farm  yard  plunder  A  clever  composition, 
thoroughly  wintry  in  character. 

189  G.  H  McCORD  (Amer ) 

A  STUDIOUS  BEAUTY. 

28  X  30 

Seated  near  a  gigantic  sunflower,  in  a  sunlit  path,  a  young  lady  is 
poring  over  some  absorbing  book.  This  is  a  bright,  effective  study 
of  foliage  in  light  and  shade. 


powers"  art  GALLERl. 


190  H.  HILLER  (Germ.)  Berlin. 

CHANGING  HORSES,  TYROL. 

37  X  43. 

A  mountafn  hostelry  in  the  Tyrol,  where  the  diligence  has  stopped 
for  a  relay  of  horses.  The  rarefaction  of  the  air,  which  makes 
distant  objects  appear  surprisingly  near,  is  admirably  well  shown  in 
the  mountain  mass  behind  the  inn,  as  it  is  made  to  look  but  a  stone  s 
throw  from  the  roof.  The  rocks,  snow,  trees,  mist,  etc.,  are  ex 
tremely  true  to  nature,  both  in  texture  and  tone  This  is  a  capital 
Alpine  landscape. 


191  ROMAKO.  (Ital.)  Rome 

SENTINEL  OF  LOUIS  XV. 

37  X  43. 

"A  picture  of  remarkable  style  is  the  Romako,  a  life  size,  well 
grown  enslaver,  of  the  time  of  Louis  Quinze,  executed  with  com 
manding  dash  and  perfect  mastery  of  technic.  The  cherry  lipped 
beauty  looks  almost  too  fresh  for  her  situation  The  orgies  of  the 
•Pare  aux  Cerfs'  were  too  punctually  begun  at  midnight,  lasting 
over  till  midday,'  for  the  ‘Sentenelle’  who  parades,  in  her  laced 
cocked  hat  and  with  her  jeweled  musket,  in  front  of  the  retreat,  to 
retain  this  look  of  keen  enjoyment  of  life  and  deviltry  under  the  glare 
of  day  light.  There  is  a  good  deal  of  the  deuce  ’  about  these  high- 
stepping  jades  when  they  are  quietest,  and  the  witchcraft  on  this 
occasion  has  got  into  the  brushes  that  painted  so  miraculous  a 
study.' — New  York  Graphic 


192  EDWARD  GAY.  (Amer,)  New  York. 

Pupil  of  James  Hart,  Schirmer  and  Lessing. 

THE  QUIET  RIVER. 

50  X  30. 

A  rural  scene,  with  limpid  river,  snug  farm  houses  among  the  trees, 
and  cattle,  all  under  a  sky  dappled  with  fleecy  clouds.  Repose  and 
calm  breathe  from  this  canvas.  The  aerial  perspective,  the  drawing 
and  coloring  are  very  good. 


MODEKN  OIL  PAINTINGS. 

193  GUISEPP4  SACCRA.  (Ital.)  Naples 

SHORE  VIEW.  BAY  OF  NAPLES. 

49  X  23 

This  picture  gives  a  good  idea  of  the  shore  line  from  Naples  to 
V  esuvius. 


194  A  DOLL.  (Germ)  Munich 

THE  OLD  MILL. 

36  X  20. 

There  is  plenty  of  evidence  in  this  canvas  of  conscientious  study 
of  nature.  The  subdued,  mellow  light  ot  the  sky  is  reflected  through 
out  the  picture.  This  is  a  good  example  of  this  painstaking  artist. 


195  UNKNOWN. 

HEN  AND  CHICKENS. 

14  X  18. 


196  J.  C  CANCEL.  (Belg.)  '  Antwerp. 

THE  LITTLE  FLOCK. 

29  X  21. 

197  LUDOVICO  BRUNTS.  (Ital.)  Rome. 

INNOCENCE  AND  FIDELTY. 

23  X  18 

198  W  KOOIMAN  (Belg.)  Brussels. 

MILKING  TIME, 

24  X  15. 


199  W.  KOIEMANS.  (Belg.)  Brussels 

Gold  Medal 


LANDSCAPE  AND  CATTLE. 

31  X  21 


POWEKS’  ART  GALLERY. 


200  G.  W.  MAYNARD.  (Amer  )  New  York 

Pupil  of  Edwin  White,  Florence,  and  of  the  Royal  Academy  of  Antwerp, 

WAITING  FOR  THE  TRAIN. 

8x10. 

A  clever  study  of  an  old  man,  pipe  in  mouth,  waiting  for  a  train. 

201  A.  LASALLE. 

THE  PET  RABBITS. 

7x9. 

202  HANNO  RHOMBERG.  Copy  by  Geisler. 

THEIR  FIRST  SMOKE. 

29  X  34. 

The  original  of  this  picture  is  No  390  in  the  new  Royal  Pinakothek 
of  Munich. 

203  HANNO  RHOMBERG.  Copy  by  Geisler.  Munich. 

THE  SLED  MAKER. 

29  X  34. 

204  FRIEDRICH  BISCHOF  Copy  by  Geisler.  Munich. 

THE  FIRST  SNOW. 

29  X  34. 

The  original  is  No.  148,  in  the  new  Royal  Pinakothek,  Munich 


205—206  EMIL  PREUSS.  (Germ.) 

TWO  FEMALE  STUDIES. 

32  X  40. 


Brussels. 


207  EUGEN  HESS.  Copy  by  Geisler.  Munich 

THE  CONVENT’S  GUEST. 

20  X  34. 

In  this  excellent  copy,  the  creature  comforts  of  the  convent  are 
plied  upon  the  guest  for  a  purpose  best  known  to  the  abbot  who  is 
entertaining  him.  As  a  study  of  a  monastic  interior,  the  picture 
has  much  merit.  The  original  is  No  83  in  the  new  Royal  Pinako¬ 
thek,  Munich 


MODERI^  OIL  PAIKTINGS. 


208  R.  RE  ELORRIAGrA.  (Span.)  New  York. 

THE  OLD  BEAUX. 

8  X  10. 


209  UNKNOWN.  Canaletto  School. 

THE  PIAZETTA, 

^  Little  Square  of  St.  Mark,  Venice.  Moonlight  View. 

43  X  34. 

On  the  left  is  the  west  front  of  the  palace  of  the  Doges;  across,  the 
Molo;  in  the  distance,  the  church  of  St.  George.  One  pillar  has  the 
Winged  Lion  of  St.  Mark,  the  Protector  of  Venice;  the  other  has  St. 
Theodore,  the  patron  of  the  Republic. 


210  MOLINO  (Mexican.) 

MEXICAN  HORSEMAN 

18  X  12. 


Mexico 


211  CHO.  GU^DEDSLEIG.  (Dutch,  decU) 

ROMAN  OX. 

43  X  31. 

The  noble  looking  animal  here  portrayed  is  of  the  Campagna  breed 
of  herding  cattle.  The  landscape  is  the  valley  of  Ariccia,  somewhat 
to  the  south  of  Rome. 


212  FRIEDRICH  SIMLER.  (Germ,  dec’d.) 

BIRD  HUNTING. 

18  X  15. 


Frankfurt. 


213  E.  E.  HASTINGS.  (Amer.) 

THE  HAPPY  FAMILY. 

10  X  14. 


New  York. 


214  After  CORREGGIO.  Artist  Unknown. 

ST.  CATHERINE  PRAYING. 

14  X  10. 

This  IS  a  very  excellent  copy  of  a  well  known  picture. 


POWEES’  AET  GALLEEY. 


215  KARL  F.  SOHN.  (Germ,  dec’d.)  DuesseldorL 

Professor  at  the  Duesseldorf  Academy.  Pupil  of  the  Berlin  Academy  and 
of  Schadow.  He  formed  many  of  the  best  painters  of  the  modern  German 
school. 

TRAVELLING  LOCKSMITH. 

8  X  12. 

This  sketch  is  made  with  a  cleanness,  care  and  precision  which 
remind  one  of  Teniers  and  Bloemaert. 


216  ALFRED  LOUIS  JACOMIN.  (Fr.)  Paris. 

Pupil  of  his  father.  Medal  at  Philadelphia  1876. 

THE  DILETTANTE. 

21  X  26. 

A  gaily  dressed  cavalier  is  inspecting  an  interior  church  view  by 
the  artist,  who  is  standing  near,  apparently  indifferent  to  the  effect 
produced  on  the  aristocratic  critic  by  his  work.  The  properties  and 
odds  and  ends  of  the  artist’s  studio  are  very  effectively  worked  up ; 
the  picture,  as  a  whole,  is  a  good  sample  of  this  careful  artist’s  best 
method. 

217  A.  A.  LESREL.  (Fr.)  .  'Paris. 

Pupil  of  Gerome. 

SOLDIER,  TIME  OF  LOUIS  XIII. 

8x10. 

From  the  Harper’s  Ckillection,  sold  in  New  York,  March  13ih,  1880, 


218  OTTO  PILTZ.  (Germ.)  Weimar, 

GRANDPA  NURSING. 

8  X  10. 


v219  OTTO  PILTZ.  (Germ.)  Weimar, 

GRANDMA  TEA-DRINKING. 

8  X  10. 

It  is  merely  necessary  to  say  that  these  life-like  studies  are  by  the 
same  hand  which  painted  “Lunch  Time  in  School,”  No.  14  of  this 
Catalogue. 


MODERK  OIL  PAIITTIKGS. 


220  E.  T.  GUISER.  (Germ.)  Munich. 

*  SOLDIERS  CARD  PLAYING. 

14  X  12. 

The  soldier  with  the  pipe  in  his  mouth  has  led  a  card  which  is  a 
“poser  ”  to  his  antagonist,  who  is  scratching  his  head  in  his  perplexity. 
The  latter’s  righthand  neighbor  is  advising  him  what  to  do.  This  is 
a  graceful  composition,  good  in  drawing  and  color,  and  of  almost 
microscopic  finish. 


221  C.  GEIBEL.  (Germ.)  Weimar. 

THE  CLOCK-MAKER. 

7x9. 

The  old  fellow  has  laid  aside  his  work  for  the  purpose  of  conning 
over  the  newspaper  and  refreshing  the  inner  man. 


222  GUSTAVE  DE  JONGHE.  (Belg.)  Brussels. 

Medal  3rd  cl.  Paris  Salon,  1863. 

THE  FIRST  MUSIC  LESSON. 

18  X  24. 

A  thoroughly  well  studied  and  painted  subject. 


223  T.  SCHLESINGER.  (Ft.)  Paris. 

THE  BUTTERMILK  GIRL. 

8x  10. 


224  FRANZ  DEFREGGER.  (Austrian.)  Munich. 

Med.  3rd  cl.,  Paris  Salon,  1878. 

PORTRAIT. 

7x9. 

This  is  one  of  the  best  bits  of  painting  in  the  whole  Gallery.  The 
cleanness,  firmness  and  warmth  of  the  flesh  painting,  and  the  trans¬ 
parency  of  the  middle  tints  and  shadows,  are  given  with  incomparable 
ease.  This  little  picture  deserves  attentive  study. 


powers’  art  gallery. 


225  max.  GUISER.  (Germ.)  Munich. 

THE  VILLAGE  POLITICIANS. 

19  X  16. 

The  village  oracle  is  putting  to  the  senior  member  of  the  party  an 
argument  which  the  latter  finds  hard  of  digestion.  The  listener  in 
the  corner  is  smiling  wickedly  at  the  old  man’s  discomfiture.  The 
treatment  of  this  subject  is  free,  bold  and  natural. 


226  C.  GEIBEL.  (Germ.)  Weimar. 

THE  BRETZEL  BOY. 

7x9. 


227  J.  CAROLIUS.  (Belg.) 


Gold  Medal. 

THE  MORNING  TOILET. 

20  X  26. 


Brussels. 


228  PETER  KRAEMER.  (Germ.)  Munich. 

PORTRAIT  OF  A  MONK. 
lMx29. 

The  venerable  friar  here  portrayed  looks  as  though  refiecting  how 
much  mirth-provoking  liqmd  had,  one  time  or  another,  been  poured 
out  of  the  flagon  in  his  hand.  Kraemer  is  quite  at  home  in  this  kind 
of  subject,  which  he  treats  with  geniality,  skill  and  true  artistic  feeling. 
This  canvas  is  painted  with  decision  and  force. 


229  A.  LUEBEN.  (Germ.)  Munich. 

A  famous  painter  of  Bavarian  peasant  home  life. 

HER  OWN  BARBER. 

23  X  30. 

This  mother  is  evidently  a  factotum  in  her  own  house.  From  her 
method  of  working  she  is  an  adept  at  the  business.  There  is  a  quiet 
suggestion  in  this  picture  of  the  economy  in  small  things  which  leads 
to  comfort^  and  independence. 


MODERN  OIL  PA.INTINGS. 


230  ARNOLDO  TAMBURINI.  (Ital.)  Florence. 

THE  CHOICE  VINTAGE. 

10  X  12. 

The  cellarer  of  the  Convent  is  carrying  a  cask  of  fine  wine,  jealously 
guarded  by  the  abbot’s  seal,  to  break  which  would  involve  dire  pen¬ 
alties.  He  eyes  the  formidable  bit  of  wax  with  no  friendly  mien. 


231  GUSTAVUS  MANCINELLI.  atal.)  Rome 

THE  CONVALESCENT. 

26  X  31. 

A  fair  specimen  of  the  modern  Italian  school  of  painters.  The 
young  lady,  just  recovering  from  an  illness,  is  seated  at  a  window 
taking  the  air. 

232  L^:ON  VICTOR  DUPRI:.  (Ft.)  Paris. 

Brother  and  pupil  of  Jules  Dupre.  Medals  at  Paris  and  Philadelphia. 

LANDSCAPE. 

28  X  17. 

The  influence  of  the  artist’s  celebrated  brother  is  manifest  in  this 
landscape.  Indeed  it  would  not  be  very  difficult  to  mistake  it  for  a 
“Jules”  Dupre.  The  perspective  is  faultless,  the  tone  rich  and 
mellow,  and  the  foliage  is  painted  with  extraordinary  sureness  and 
lightness  of  touch.  The  distances,  too,  are  indicated  with  great  skill. 


233  J.  BENEDICTER.  (Germ.)  Munich. 

DUTCH  KITCHEN. 

24  X  20. 

This  arched  and  vaulted  kitchen  looks  like  the  crypt  of  some  old 
abbey  turned  to  the  utilitarian  purposes  indicated  by  the  cook  stand¬ 
ing  in  the  ruddy  glow  of  the  fire.  The  light  and  shade  are  well 
managed,  the  pots  and  pans  and  other  utensils  are  painted  so  as  not 
only  to  tell  exactly  of  what  metal  they  are  made,  but  even  to  disclose 
the  repairs  they  have  undergone.  The  onions  strung  overhead  one 
can  almost  smell,  such  has  been  the  artists’  scrupulous  fidelity  to  the 
originals.  The  blending  of  the  two  kinds  of  light — from  the  windows 
and  the  fire — is  skillfully  worked  out.  This  is  a  very  uncommon 
treatment  of  a  very  ordinary  subject. 


powers’  art  gallery. 


234  LEON  PERRAULT.  (Fr.)  Paris, 

Pupil  of  Pieot  and  Bouguereau.  IMedal  1804,  med.  2nd  cl.  1876. 

AZOR’S  EDUCATION. 

35  X  46. 

It  goes  without  saying,  that  Azor  is  the  demure  little  poodle,  with 
the  lump  of  sugar  on  his  nose.  His  fair  young  mistress  is  ‘  ‘  putting 
him  through  his  facings,”  while  a  younger  sister  and  a  brother  look 
on  with  kindly  interest  at  the  lesson.  The  faces  of  these  children 
are  striking  specimens  of  feature  painting.  The  attentive  seriousness 
of  the  gentle  teacher,  the  pleasure  and  expectation  of  the  younger 
children,  are  rendered  with  masterly  skill.  The  modelling  of  the 
neck  and  arms  of  the  chief  figure,  and  the  drawing  both  of  her  own 
and  her  sister’s  hands,  are  real  triumphs  of  art.  The  furniture  too, 
even  to  its  lesser  details,  is  drawn  and  painted  with  as  much  skill  as 
conscientious  care.  A  large  mass  of  j^ellow  is  a  difiicult  thing  to 
manage  in  a  canvas;  but  the  artist  here  makes  it  harmonize  admirably 
with  his  other  colors.  It  is  no  wonder  that  this  picture,  when  exhib¬ 
ited  at  the  Paris  Salon  of  1872,  evoked  great  and  general  applause. 
It  was  looked  upon  as  a  chef  d’  osuvre.  It  was  purchased  at  the  sale 
of  the  Harper’s  Collection,  of  which  it  was  considered  the  gem, 
March  13th,  1880. 

235  J.  GEORGES  FERRY.  (Fr.)  Paris. 

Pupil  of  Hillemacher  and  Cabanel. 

A  LITERARY  REUNION. — Under  the  First  Empire. 

15  X  24. 

A  carefully  composed,  soberly  colored  canvas.  It  will  bear  a  good 
deal  of  inspection.  Singularly  enough,  considering  the  artist’s  coun¬ 
try,  he  gives  the  places  of  honor  on  the  capitals  of  the  two  chief 
pillars  to  Newton  and  Milton.  This,  probably,  to  intimate  that  the 
home  of  genius  is  wherever  the  higher  civilization  holds  sway.  The 
savants  to  whom  he  introduces  us  are  grave  and  decorous,  and  his 
“blue  stockings  ”  are  unusually  attractive  for  the  class.  The  painting 
of  this  picture,  even  to  the  least  of  its  details,  is  the  perfection  of 
nicety  and  care. 

236  NARCISSE  VIRGILE  DIAZ.  (Fr.  dec’d  1876.) 

LANDSCAPE  WITH  FIGURES. 

15x21. 

This  picture  speaks  for  itself.  Of  the  great  artist  who  painted  it, 
Jarves  says  in  Art  Thoughts:  “He  is  charming  in  his  land- 


MODERJf  OIL  PAINTINGS. 


scape  motives,  in  which  he  introduces  little  children,  lovely  women 
or  classical  nymphs,  amorini  or  whatever  best  affords  him  scope  for 
his  rich  flesh-tints,  in  contrast  with  magniflcently  colored  draperies 
on  the  deep  greens  and  browns  of  vegetation.”  Roger  Ballu  says  of 
him  in  the  Gazette  des  Beaux  Arts:  ‘  ‘  He  has  attached  his  name  to 
one  aspect  of  nature.  When  October  comes,  go  to  the  heights  of  the 
valley  of  the  Salle,  or  in  the  thickets  of  Bas-Breau,  wander  in  the 
midst  of  the  superb  vegetation,  *  *  ♦  where  play  all  shades, 

the  dark  green,  the  brown,  the  golden  yellow,  the  bright  sca.rlet;  and, 
seeing  this  magniflcient  twinkling  of  autumn  tints,  you  will  surprise 
yourself  saying  ‘Behold  a  Diaz.’”  No  better  comments  on  this 
picture  could  be  made  than, those  embodied  in  the  two  extracts  above 
quoted. 

237  w.  HOUGH.  (Eng.)  London. 

RASPBERRIES. 

10x7. 

238  F.  SCHLESINGER.  (Germ.)  Munich. 

THE  COUNTRY  DOCTOR. 

26  X  22. 

The  doctor’s  benignant  face  and  inviting  gesture  do  not  prevent 
the  child  from  shrinking  from  him.  The  poor  little  thing  has  a  face 
swollen  from  toothache,  and  forebodes  the  forceps  lying  on  the  doc¬ 
tor’s  desk,  although  she  does  not  see  it.  This  is  a  life-like  picture. 


239  CHARLES  FRANCOIS  DAUBIGNY.  (Fr.  dec’d  1878). 

Pupil  of  Delaroche.  Medals  1848,  1858,  1855,  1859,  1867.  Legion  of  Honor 
1859.  OflBcer  of  Legion  of  Honor,  1874.  Diploma  to  the  memory  of  deceased 
artist,  Exposition  Universelle,  1878. 

SPRINGTIME. 

22  X  14. 

“It  is  the  real  hospitable  and  familiar  country,  without  display  or 
disguise,  in  which  one  finds  himself  so  well  off,  and  in  which  one  is 
wrong  not  to  tarry  longer  when  he  is  there,  to  which  Daubigny  trans 
ports  me  without  jolting,  each  time  I  stop  before  one  of  his  pictures.’ 
Edmond  About,  Salon  of 


powers’  art  gallery. 


240  L.  CROSIO.  (  .)  Munich. 

THE  LECTURE. 

14  X  20. 

A  gentle  reproof  is  being  administered  by  mamma  to  her  little 
daughter.  If  the  reprimand  is  conveyed  with  a  tithe  of  the  delicacy 
and  refinement  which  the  artist  displays  in  his  picture,  it  must  be 
worth  hearing. 


241  YENO.  (Hungarian.)  Munich. 

THE  ARTIST’S  STUDIO. 

20  X  28. 

The  artist’s  handsome  wife  has  stolen  upon  him  in  his  studio  and 
taken  the  brush  from  his  hand,  telling  him  that  it  is  now  time  to  give 
her  a  little  attention.  The  garments  of  the  two  actors  in  this  pretty 
domestic  scene,  as  well  as  the  accessories  of  the  studio,  are  very  good 
samples  of  texture  painting. 


242  EASTMAN  JOHNSON.  (Amer.)  New  York. 

Member  of  the  National  Academy. 

THE  REPRIMAND. 

23  X  19. 

The  stern-looking  old  man  in  the  chair  has  administered  a  rebuke 
to  the  girl,  who  seems  to  have  just  returned  from  some  forbidden 
excursion.  Hesitating  defiance  is  strongly  marked  in  her  face;  but 
that  cold,  unyielding  eye  under  the  hat  will  probably  bring  her  to 
her  senses,  unless,  forsooth,  there  is  a  beau  in  the  question.  Then, 
who  can  tell  ?  This  is  a  very  powerful  piece  of  character  delineation. 


243  J.  A.  DEGRAVE.  (Fr.)  Paris. 

Pupil  of  Gerome. 

SCHOOL  RECESS. 

11  X  13. 

This  infant  group  has  forgotten  all  about  the  alphabet  they  have 
just  been  learning,  and  they  are  now  occupied  with  the  doll.  This 
gem  was  purchased  at  the  sale  of  the  Harper’s  collection  in  New 
York,  March  13th,  1880. 


MODERIT  OIL  PAINTINGS. 


■  ■  !  ! 


244  CECIL  C.  VAN  HAANEN.  (Dutch- Austrian.)  Venice. 

Medal  3rd  cl.  1876 ;  2nd  cl.  1878,  Paris  Exposition.  A  painter  of  great  merit, 
whose  works  are  exceedingly  difficult  to  get. 

TAILOR’S  WORKSHOP. 

21  X  27. 

Three  seamstresses  occupy  the  front  of  the  shop.  In  the  deep 
shadow  behind  them  the  tailor  himself  sits  cross-legged  on  his  bench. 
It  will  take  a  moment  to  discover  him,  but  he  is  there,  every  bit  of 
him.  This  artist  paints  with  a  fearless  brush,  and  the  accuracy 
which  comes  of  close  study.  The  bricks,  the  faded  paint  of  the 
woodwork,  the  faces  and  garments  of  the  workwomen  and  the  pre¬ 
siding  genius  behind,  are  given  with  rare  truthfulness,  dash  and 
vigor.  This  is  a  striking  work. 

245  G.  H.  BOUGHTON.  (Eng.)  New  York. 

Member  of  the  National  Academy. 

KATRINA  VAN  TASSEL. 

16  X  24. 

“Among  the  musical  disciples  who  assembled,  one  evening  in  each 
week,  to  receive  instructions  in  psalmody,  was  Katrina  Van  Tassel, 
the  daughter  and  only  child  of  a  substantial  Dutch  farmer.  She  was 
a  blooming  lass  of  fresh  eighteen,  plump  as  a  partridge,  ripe  and 
melting  as  one  of  her  father’s  peaches,  and  universally  famed,  not 
only  for  her  beauty,  but  for  her  vast  expectations.  She  was  withal  a 
little  of  a  coquette,  as  might  be  perceived  even  in  her  dress,  which 
was  a  mixture  of  ancient  and  modern  fashions,  as  most  suited  to  set 
off  her  charms.  She  wore  the  ornaments  of  pure  yellow  gold,  which 
her  great-great-grandmother  brought  over  from  Saardam;  the  tempt¬ 
ing  stomacher  of  the  olden  time;  and  with  a  provokingly  short 
petticoat,  to  display  the  prettiest  foot  and  ankle  in  the  country 
round.  ” —  Washington  Irving,  Sketch  Book. 


246  EUGENE  J.  VERBCECKHOVEN.  (Flemish,  dec’d.) 

Member  of  the  Academies  of  Belgium,  Antwerp  and  St.  Petersburg.  Chev. 
of  the  Legion  of  Honor  ;  of  the  Orders  of  Leopold  of  Belgium,  Michael  of 
Bavaria  and  Christ  of  Portugal.  Decorated  with  the  Iron  Cross. 

THE  SHEEP  COTE. 

21  X  28. 

This  work,  painted  on  panel,  is  dated  1840,  previous  to  the  time 
when  an  ever  increasing  demand  for  the  artist’s  pictures  betrayed. 


powers’  art  gallery. 


him  into  a  hurried  and  somewhat  carelesss  manner,  which  greatly- 
detracted  from  their  real  value.  It  does  not  need  a  single  word  of 
comment. 

247  J.  G.  BR0T7N.  (Brit.  Amer.) 

Pupil  of  the  Royal  Scottish  Academy,  Edinburgh.  Member  of  the  National 
Academy.  Medals  at  Boston  and  San  Francisco.  An  artist  whose  pictures 
have  great  vogue. 

“DEAD  BROKE.” 

16  X  24. 


248  ANTON  SEITZ.  (Germ.)  Munich. 

Known  as  the  Meissonier  of  Germany. 

DER  SCHUETZENKOENIG. 

13  X  20, 

The  King  of  the  Riflemen. 

The  hardy,  steel-nerved  veteran  has  borne  the  prize  away  from  all 
his  competitors,  and  has  returned  with  the  flag  of  victory.  The  look 
and  stride  of  the  doughty  old  crack  shot  proclaim  his  envied  emi¬ 
nence.  In  the  left  hand  corner  are  the  inevitable  fiddle,  cornet  and 
double  bass,  furnishing  the  regulation  amount  of  noise.  Friends  sit 
enjoying  themselves  at  a  table.  Through  the  open  door  is  seen  a 
marksman  just  firing  at  the  target.  The  execution  of  this  picture 
speaks  for  itself. 


249  JEAN  BAPTISTE  THAYER.  (Fr.)  Paris. 

Pupil  of  his  father.  Medals  1853  and  1855,  Paris  Exposition. 

THE  LACE  CONNOISSEURS. 

18  X  22. 

Two  ladies  exchanging  views  on  a  piece  of  lace.  A  clever,  deftly 
handled  composition. 

250  LOUIS  Mile  ADAN.  (Fr.)  Paris. 

Pupil  of  Picot  and  Cabanel.  Medal  3rd  cl.  1875,  med.  2nd  cl.  1882. 

MARGUERITE. 

12  X  16. 

Kneeling  by  Michael  Angelo’s  Pieta  (the  art  name  given  to  the  dead 
Christ  in  the  Virgin’s  lap),  Marguerite  gives  full  vent  to  her  remorse 


I 


MODERNS  OIL  PAII^TIiq'GS. 

and  grief.  Her  companions  in  the  distance  are  calling  one  another’s 
attention  to  the  fallen  girl.  Drawing,  color,  light  and  shade  and 
perspective  are  next  to  faultless  in  this  work. 


251  AUGUSTE  TOULMOUCHE.  (Fr.)  Paris. 

Pupil  of  Gleyre.  Medals  1852,  1859,  1861.  Le^on  of  Honor,  1870.  Medal 
3rd  cl.  Universal  Exposition,  1878. 

A  SWEET  REVERIE. 

15  X  24. 

On  the  tapestry,  behind  the  subject  of  this  finely  painted  picture, 
the  artist  has  hinted  what  is  passing  through  her  mind.  An  example 
of  his  best  work. 


252  J.  G.  VIBERT.  (Fr.)  Paris. 

Pupil  of  Barrias.  Medals  1864,  1867,  1868.  Legion  of  Honor  1870.  Med.  3rd 
cl.  Universal  Exposition,  1878.  An  artist  with  no  living  superior  in  his 
special  line. 

REHEARSING. 

7x11. 

It  is  not  uncommon  in  Continental  churches,  where  the  Gregorian 
<;hant  is  used,  to  accompany  the  voices  on  the  double  bass.  The 
subject  of  this  picture  is  engaged  in  rehearsing  for  some  forthcoming 
festival  in  the  church  choir.  This  picture  is  painted  with  great 
fidelity  to  nature. 


253  JULES  DUPRI:.  (Fr.)  Paris. 

Medal  2nd  cl.  1833,  Legion  of  Honor  1849,  med.  2nd  cl.  1867,  OflOcer  of  the 
Legion  of  Honor  1870. 

A  LANDSCAPE. 

12  X  16.  i 

Theophile  Gautier,  the  celebrated  critic  says  of  this  painter:  “The 
young  generation,  who  did  not  see  the  splendid  putting  forth  of  art 
which  followed  the  revolution  of  July,  is  astonished  before  the 
pictures  of  Jules  Dupre,  by  this  boldness,  this  zeal  and  this  brilliancy. 
W e  are  no  longer  accustomed  to  these  superb  extremes,  to  this  excess 
of  strength,  to  this  overflowing  of  power,  to  these  full-faced  struggles 
with  nature.  This  excessive  scale  dazzles  the  eyes  habituated  to  the 
sober  regime  of  gray.  ” 


powers'  art  gallery. 


254  J.  G.  BROWN.  (Brit.-Amer.)  New  York. 

Pupil  of  the  Royal  Scottish  Academy,  Edinburgh.  Member  of  the  National 
Academy.  Medals  at  Boston,  1st  Medal,  San  Francisco,  1877. 

THE  CHALLENGE. 

22  X  28. 

The  bold,  keen-faced  urchin  is  ready  to  pit  his  likely  looking  dog 
against  the  broken-haired  terrier,  whose  youthful  owner  declines  the 
match.  Both  owners  and  dogs  are  painted  with  expression,  vigor 
and  care. 


255  A.  F.  BUNNER.  (Amer.)  New  York. 

THE  MOLD  OR  HARBOR  OF  VENICE. 

20  X  22. 


256  PETER  KRAEMER.  (Germ.)  Munich. 

MONK  TAKING  SNUFF. 

24  X  29. 

Good  natured  benignity,  wrinkled  old  age  and  constitutional  antip¬ 
athy  to  water  speak  from  this  canvass  with  uncommon  force.  The 
face  is  “ripe”  and  mellow,  the  eyes  bleared  and  bibulous,  the  hands 
firmly  drawn  and  splendidly  painted,  even  to  the  dirt  under  the  finger 
nails.  In  a  purely  artistic  point  of  view,  this  is  a  most  attractive 
old  friar. 


257  JOSEPH  COOMANS.  (Belg.)  Brussels. 

A  CLASSIC  BEAUTY. 

14  X  18. 

258  ^:MILE  VAN  MARCKE.  (Fr.)  Paris. 

Pupil  of  Troyon.  Medals,  Paris  Salon,  1867,  1869,  1870.  Legion  of  Honor 

1872.  Medal  1st  cl.  1878,  Universal  Exposition.  As  a  cattle  painter  he  ranks 
next  to  his  master,  Troyon. 

CATTLE. 

32  X  22. 

A  splendid  example  of  this  great  artist.  The  drawing  of  these 
animals,  the  clear  atmospheric  effect  and  the  broad,  bold  manage 


MODERN  OIL  PAINTINGS. 


ment  ot  light  and  shade  are  masterly.  Nothing  can  he  finer  than  the 
transparency  of  the  shadows  in  this  picture.  It  deserves  prolonged 
study 


259  GARCIA  Y.  MENCIA.  (Span.)  ,  Paris. 

Pupil  of  Madrazo. 

‘‘EL  PELEL.” 

The  Effigy. 

37  X  27. 

The  effigy  of  Judas  is  being  tossed  in  a  blanket,  on  Easter  eve, 
according  to  an  old  Spanish  custom.  The  principal  group  of  actors 
in  this  scene  are  alive  to  the  fun,  and  are  quite  Spanish  in  garb  and 
feature.  The  passing  monk  with  his  load  of  eatables  suggests  the 
end  of  Lent.  There  are  thirty-five  figures  in  this  characteristic, 
excellent  canvas. 


260  J.  G.  VIBERT.  Copy  by  E.  Peters. 

THE  BISHOP’S  ANTE-ROOM. 

19  X  15. 

An  exceedingly  good  copy  of  this  well-known  picture.  The  peasant 
woman  has  brought  her  offering  and  is  being  entertained  by  the  fat 
friar.  Two  other  ecclesiastics  are  in  the  far  corner, — the  Dominican 
turning  to  eye  the  buxom  young  dame.  The  bishop  himself  is  watch¬ 
ing  the  whole  from  the  door  on  which  is  printed :  “Permez  douce- 
ment,”  “  Shut  softly.”  An  examination  of  this  picture  will  show  the 
extraordinary  amount  of  careful  work  in  it. 


261  JULES  PRIidIiRIC  BALLAVOINE.  (Fr.)  Paris. 

Pupil  of  Pils.  Medal  3rd  cl.  1880. 

A  DREAM. 

70  X  104. 

Out  of  the  horn  of  Morpheus,  typical  of  sleep,  emerges  a  fair, 
ethereal  form,  breaking  the  chains  of  slumber  from  her  wrists  and 
apparently  about  to  float  away.  This  picture  was  painted  to  order 
for  a  Russian  Prince  for  the  sum  of  twenty  thousand  francs. 


powers’  art  gallery. 


262  J.  J.  ENNEKING.  (Amer.)  Hyde  Park.  Mass. 

CATTLE  SCENE. 

22  X  10. 


263  P.  RENAUD.  (Fr.)  Paris. 

VIEW  NEAR  BREST. 

20  X  24. 

A  very  cleverly  painted  landscape. 


264  KARL  F.  SOHK  (Germ.)  Duesseldorf. 

Pupil  of  the  Berlin  Academy  and  of  Schadow,  whom  he  followed  to  Dues¬ 
seldorf.  He  has  formed  many  of  the  best  painters  of  the  Duesseldorf  School. 

STUDY  OF  DISAPPOINTED  LOVE. 

12  X  16. 

An  unusually  good  study  of  facial  expression,  quiet  and  subdued 
in  character  and  tone,  with  a  great  deal  of  sadness  impressed  upon  it. 


265  WM.  H.  BEARD.  (Amer.)  New  York. 

Member  of  the  National  Academy.  A  painter  of  humorous  satires  on  the 
brute  creation. 

“GO  WHEN  PM  MIND’  TO.” 

15  X  12. 

The  monkey  ordered  out  of  the  house  thinks  himself  fully  the 
equal  of  the  rich  parmnu  who  is  showing  him  the  door.  A  clever 
little  picture  in  Beard’s  happiest  vein. 

266  ACHILLE  LEONARDI.  (Ital.)  Rome. 

PETRARCH’S  FATHER  THROWING  THE  POET’S 
BOOKS  INTO  THE  FIRE. 

19  X  25. 

Petrarch’s  father,  angered  at  the  boy’s  love  for  the  Classics  rather 
than  for  the  study  of  law,  to  which  he  destined  him.  threw  his 
precious  manuscripts  of  the  Classics  into  the  fire.  The  son’s  giief 
and  despair,  however,  mollified  the  father,  who  snatched  tlie  books 
from  the  flames  and  bade  him  follow  his  own  bent. 


MODERN  OIL  PAINTINGS. 

267  UNKNOWN. 

PORTRAIT. 

13  X  29. 

The  original  of  this  strong  likeness  would  seem,  from  his  garb  and 
general  appearance,  to  have  been  some  old  German  professor  or 
ecclesiastic,  perhaps  both.  It  is  a  well  painted  piece. 

268  MUNSCH. 

COUNTRY  SCENE. 

13  X  16. 

269  MUNSCH. 

COUNTRY  SCENE. 

13  X  16. 

270  M.  C.  MIDDLEBECK.  (Dutch.)  Amsterdam. 

WINTER  SCENE. 

22  X  27. 

271  T.  BANTI.  (Ital.)  Florence. 

GALLILEO  BEFORE  THE  INQUISITORS. 

43  X  32. 

This  painting  is  supposed  to  represent  Gallileo  in  presence  of  the 
secret  tribunal  of  three,  called  the  Inquisition.  The  great  philos¬ 
opher,  at  the  date  of  this  episode  in  his  life  (June  22nd,  1633),  was 
about  seventy  years  of  age.  Possibly  the  motion  of  the  earth, 
maintained  by  him,  is  under  discussion.  He  was  forced  to  retract 
his  theory  on  that  point.  There  is  some  fair  painting  in  this  picture, 
but  the  subject  is  clearly  a  great  deal  too  big  for  the  artist. 


272  GILBERT  STUART.  (Amer.  1756-1828.)  Narraganset,  R.  I. 

Pupil  of  Benjamin  West,  of  the  Royal  Academy,  London.  As  a  painter  of 
heads,  Stuart  had  few  equals  in  any  age  or  country.  He  was  indifferent 
about  the  finish  of  the  accessories  of  his  portraits,  subordinating  everything 
to  the  head  and  face.  Few  painters  could  transfer  the  natural  traits  of 
character  to  canvas  with  the  vigor  and  fidelity  of  this  greal^painter. 


GEORGE  WASHINGTON. 

72  X  106. 


powers’  art  gallery. 


273  T.  BOMPIA.  (Ital.)  Florence. 

DANTE  AND  GIOTTO, 

44x32. 

One  of  Dante’s  frequent  visits  to  Giotto,  the  great  reviver  ot  paint¬ 
ing  in  Italy.  The  poet  is  reciting  portions  of  the  “Inferno”  to  the 
painter  seated  at  his  work.  The  period  would  be  about  the  year 
1300.  The  composition  lacks  dignity  and  strength,  and  the  coloring 
is  indifferent. 


274  J.  TENSFELD.  (Amer.)  Chicago. 

LONGFELLOW. 

21  X  27. 

This  portrait,  though  cold  in  tone,  is  not  without  merit. 


275  A.  DE  BEKGII.  (Flem.)  Antwerp. 

THE  ZOOLOGICAL  GARDEN. 

21  X  25. 


276  UNKNOWN. 

ITALIAN  FAMILY. 

36  X  44. 

277  R.  DE  ELLORIAGA.  (Span.) 

THE  OLD  BEAUX. 

12  X  16. 


Paris. 


278  J.  ANTONELLA.  (Ital.)  Rome. 

BIRTH  OF  THE  LILY. 

11  X  15. 

An  allusion  to  the  classical  myth  of  the  creation  of  the  pond  lily 
by  the  Lake  Nymphs. 


279  CONSTANT  CAP.  (Flem.)  Antwerp. 

THE  PET  BIRD. 

9  X  12. 


MODERN  OIL  PAINTINGS. 


280  E.  SARRI,  (Ital.) 

AT  THE  FOUNTAIN. 

11  X  15. 

Florence. 

281  H  J  BURGES.  (  ) 

Paris. 

THE  FAIR  ARTIST. 

10  X  12. 

282  A.  ROSENBOOM.  (Belg.) 

THE  CONVERSATION. 

21  X  23 

Brussels 

283  J.  E  MOREL  (Belg.) 

Antwerp. 

EVENING. 

li  X  13 

284  J  E.  MOREL.  (Belg ) 

MORNING. 

11  X  13. 

Antwerp 

285  JOSEPH  VERNET.  (Fr  1714-1789  ) 

A  renowned  painter  of  marine  pictures. 

CASTLE  IN  THE  LEVANT. 

43  x  23. 

Vernet’s  pictures  are  remarkable  for  tbeir  warm,  luminous  atmos¬ 
phere,  strong,  careful  drawing,  accurate  perspective  and  high  finish. 


286  JULIUS  HUBNER.  (Germ.) 

Duesseldorf, 

BABY’S  FIRST  TOOTH 

37  X  43 

287  EDWARD  GAY.  (Amer  ) 

New  York. 

A  LANDSCAPE, 

56  x45 

A  well  drawn  and  very  carefully  painted  picture. 

powers'  art  gallery. 


288  FRED.  BERLIN.  (Germ.)  Brussels.- 

SCENE  IN  ANTWERP. 

18  X  11. 

289  O.  R  DE  JONGHE.  (Belg.)  Amsterdam. 

SCENE  IN  AMSTERDAM. 

34  X  28. 

A  canal  and  street  scene  in  the  quaint  old  Dutch  city.  The  artist 
has  infused  a  good  deal  of  interest  into  this  view. 

290  BARTOLOMEO  PAGANI.  (Ital.)  Rome. 

MEETING  OF  THE  POPE  AND  KING. 

Porto  d’  Anzio  (1857). 

55  X  37. 

The  place  of  this  meeting  between  Pius  IX.  and  Ferdfinand  II.  was 
Antium,  about  thirty  miles  south  of  Rome. 

291  ALLEGORICAL  PICTURE  OF  SPRING. 

292  ALLEGORICAL  PICTURE  OF  SUMMER. 

293  ALLEGORICAL  PICTURE  OF  AUTUMN. 

294  ALLEGORICAL  PICTURE  OF  WINTER. 

295  ELIZABETH  LOLTSE  LEBRUN.  Copy. 

PORTRAIT  OF  HERSELF. 

36  X  41. 

This  is  a  good  copy  of  the  original  in  the  Uffizi  Gallery,  Florence, 
which  is  one  of  the  best  of  the  collection  of  three  hundred  and  fifty 
portraits  of  painters,  painted  by  themselves. 

296  OTTO  R.  JACOBI.  (Germ.)  Rochester, 


REBECCA  AT  THE  WELL. 

18  X  24. 


MODERjq'  OIL  PAINTINGS. 


297  GRUBAS  (Ital)  Vemce 

MARINE  VIEW. 

17x  11. 


298  GRUBAS. 

THE  HARBOR  OF  VENICE. 

41  X  29. 

This  view  is  from  the  public  garden,  the  extreme  eastern  point  of 
the  city.  In  the  background  are  the  domes  of  St.  Mark,  then  the 
entrance  to  the  grand  canal,  on  the  left  point  of  which  are  the  custom 
house  and  the  Church  of  the  Salute.  On  the  extreme  left  are  the 
fortifications  and  the  Church  of  St.  George 


299  GRUBAS. 

MARINE  VIEW. 
17  X  11. 


300  GRUBAS. 

SHIPWRECK  AT  SEA. 

40  X  28. 


301  GRUBAS. 

FIRE  AT  SEA. 

40  X  28. 


302  GRUBAS. 

THE  GIUDECCA,  VENICE. 

45  X  31. 

303  GRUBAS 

BRIDGE  OF  THE  RIALTO,  VENICE. 

18  X  12. 

It  was  constructed  in  1588-91,  is  158  feet  long.  46  feet  wide,  with  a 
single  marble  arch  of  74  feet  span,  and  32  feet  in  height,  resting  on 
12,000  piles.  Until  1854  this  was  the  only  bridge  over  the  Grand 


powers'  art  gallery. 


Canal,  and  connecting  the  east  and  west  quarters  of  the  city.  There 
are  now  two  iron  bridges.  The  Rialto  was  formerly  the  “Place  of 
the  Exchange,”  and  four  hundred  years  ago  was  the  grand  focus  of 
the  entire  commerce  of  Europe. 

304  GRUBAS. 

CHURCH  OF  THE  SALUTE,  VENICE. 

18  X  12. 

This  church,  called  San  Maria  della  Salute,  situated  at  the  eastern 
extremity  of  the  Grand  Canal,  nearly  opposite  the  Royal  Palace,  was 
built  in  1632  under  the  architect  Longhena,  out  of  gratitude  to  the 
Holy  Virgin  for  deliverance  from  the  plagues  which  had  scourged 
Venice.  It  contains  a  beautiful  marble  group  of  the  Virgin  banishing 
the  demons  of  the  plague. 


305  GRUBAS. 

CHURCH  AND  ISLAND  OF  ST.  GEORGE,  VENICE. 

15  X  14. 

San  Giorgio  Maggiore,  is  one  of  the  most  conspicuous  churches  in 
Venice,  immediately  opposite,  or  across  the  Molo,  from  the  Piazzetta 
of  St.  Mark.  It  was  built  under  the  architect  Palladio,  in  1565,  and 
belongs  to  the  adjoining  Benedictine  Monastery. 

306  GRUBAS. 

RIVA  DEGLI  SCHIAVONI,  VENICE. 

46x32. 

This  is  the  promenade  and  quay  in  front  of  the  Hotel  Royal  Danieli, 
and  bordering  the  Molo  or  harbor  for  some  distance.  The  Palace  of 
the  Doges  and  the  King’s  Palace  are  the  large  buildings  further  on; 
and  in  the  distance  is  the  church  of  the  Salute. 


307  GRUBAS. 

PALACE  OF  THE  DOGES,  VENICE. 

19  X  13. 

On  the  left  is  the  Royal  Palace.  The  church  of  St.  Mark  is  in  the 
back  ground,  and  the  Ducal  Palace  occupies  the  right  of  the  painting. 
The  view  is  that  of  the  south  front  toward  the  Molo,  which  is  234  feei 


MODERN  OIL  PAINTINGS. 


in  length.  The  depth  of  the  building  is  245  feet.  The  first  of  the 
palaces  which  have  been  built  on  this  site,  was  erected  in  A.  D.  800. 
They  have  been  destroyed  five  times,  and  as  often  re-erected.  The 
present  structure,  in  the  Venetian-Gothic  style,  is  about  500  years  old. 


308  ROSA  BONHEUR.  Copy  by  L.  F.  Olney. 

PLOUGHING. 

29  X  56. 

309  ROSA  BONHEUR.  Copy  by  L.  F.  Olney. 

HAYMAKING. 

29  X  56. 

These  are  two  good  copies  of  originals  by  the  celebrated  Rosa 
Bonheur,  which  are  in  the  Luxembourg  Gallery. 


310  MANHEUCH. 


HORSE  CATCHING. 

29  X  21. 

A  well  painted  picture  of  Italian  drivers  catching  their  horses, 
which  have  been  turned  loose  to  graze. 


311  UNKNOWN. 

FISHERMAN’S  HOME. 

21  X  16: 


312  UNKNOWN. 

CAT  AND  DOGS. 

13  X  16. 


313  UNKNOWN. 

GARIBALDI  ESCAPING  FROM  CAPRERA. 

25  X  30. 

He  is  represented  as  eluding  the  French  war  ships  which  had  been 
sent  in  1860,  to  watch  the  island  and  prevent  him  from  leaving  it. 


powers’  art  gallery. 


314  A.  DUVAL.  (Fr.)  '  Paris. 

THRONE  ROOM,  LUXEMBOURG. 

47  X  31. 

The  Palace  of  the  Luxembourg  in  Paris,  from  the  time  of  its  con¬ 
struction  in  1615  down  to  the  time  of  Napoleon  I,  about  1800,  was 
used  as  a  royal  residence.  After  that  time  it  was  mostly  used  for  the 
sittings  of  the  Senate.  The  throne  room  was  refitted  and  sumptuously 
decorated  in  1856.  Its  walls  were  adorned  with  large  paintings  of 
scenes  from  the  history  of  the  Napoleons. 


315  GRUBAS.  (Ital.)  Venice.. 

SNOW  SCENE  AT  VENICE. 

27  X  21. 

316  GRUBAS. 

PIAZETTA,  VENICE,  MOONLIGHT. 

27  X  21. 

317  CHARLES  DEPREY.  (Fr.)  Paris, 

LANDSCAPE. 

14  X  16. 

318  JEAN  BAPTISTE  GREUZE.  Copy. 

Greuze  was  one  of  the  most  celebrated  French  painters  of  his  time  (1T25-' 
1805). 

THE  BROKEN  PITCHER. 

33  X  41. 

The  maiden  has  been  engaged  in  doing  something  else  than  fetching 
water,  as  the  hole  in  the  pitcher  testifies.*  Probably  in  stooping  to 
gather  the  fiowers  she  holds,  she  has  knocked  the  pitcher  against  a 
stone. 

319  LOUIS  LEOPOLD  ROBERT.  Copy  by  Lemee. 

FESTIVAL  OF  THE  MADONNA  DELL’  ARCO,  NAPLES. 

72  X  46. 

On  Whit-Monday,  all  Naples  puts  on  its  holiday  clothes  and  repairs 
to  the  church  of  the  Madonna  dell’  Arco,  seven  miles  to  the  eastward 


MODERN  OIL  PAINTINGS. 


at  the  foot  of  Mt.  Somma.  The  whole  intervening  distance  is  one 
continuous  scene  of  dancing  and  merry-making — men  and  women 
crowned  with  wreaths  of  flowers  or  fruits,  and  carrying  garlands  or 
poles  surmounted  with  branches  of  fruit  or  flowers.  It  is  a  perfect 
Bacchanalian  procession;  and  it  is  pointed  to  as  indicating  unmis¬ 
takably  the  Greek  origin  of  this  festival  loving  people. 


320  LOUIS  LEOPOLD  ROBERT.  Copy  by  Lem^:e. 

ARRIVAL  OF  REAPERS,  PONTINE  MARSHES. 

72  X  46. 

It  is  well  known  that  the  Pontine  Marshes  in  the  vicinity  of  Rome, 
which,  far  from  being  swampy  or  wet  grounds,  are  suitable  for  tillage 
and  grazing,  are  nevertheless  almost  uninhabitable  on  account  of  the 
malaria.  So  that  those  who  till  any  parts  of  them  are  accustomed  tq 
move  temporarily  to  their  work  in  the  seasons  requiring  it.  This  is  a 
painting  of  such  a  removal  in  the  time  of  harvest.  We  notice  the 
peculiar  Italian  work-cattle,  near  akin  to  the  bison;  the  tent  and 
family  effects  in  the  cart;  the  welcomers  who  have  come  up  on  each 
side;  the  dancers  and  the  gleaners. 


321  SCORBISKY.  Copy. 

AN  ODALISQUE. 

33  X  41 

This  fair  denizen  of  the  harem  is  represented  as  smoking  the 
nargheli,  in  which  the  smoke,  before  being  inhaled,  passes  through 
water. 


322  JOSEPH  YERNET.  Copy. 

THE  TORRENT. 

57  X  43. 


323  JOSEPH  VERNET.  Copy.  (See  No.  285.) 

THE  RETURN  FROM  FISHING. 

63  X  38. 

The  originals  of  these  two  pictures  are  in  the  gallery  of  the  Louvre. 


powers’  art  gallery. 


324-325  GAETANO  CHEHICI  (Ital.) 

FIRST  LOVE  AND  FIRST  GRIEF. 

18  X  24 


Rome 


326  ACHILLE  LEONARDl.  (Ital.) 

HOPE. 

37  X  51 


Rome 


327  RIEDEL  Copied  by  Leonardi 

THE  EVENING  STAR. 

38  X  51, 

328  CHEV  ANNIBALE  GATTI  (Ital.) 

JUSTICE. 

37  X  51 


Florence. 


329  CHEV  ANNIBALE  GATTI  (Ital.) 

PEACE. 

37  X  51 


Florence, 


330  ACHILLE  LEONARDl  (Ital ) 

CHARITY. 

37  X  51 


Rome 


331  A  MARANGONl  (Ital) 

DOGE  FRANCISCO  MOROSlNl 

22  X  28 

One  of  the  last  of  the  great  rulers  of  the  Republic  of  Venice 


332  A  MARANGONl  gtal ) 

DOGE  ENRICO  DANDOLO. 

22  X  28. 

With  the  aid  of  the  French  this  Doge  conquered  Constantinople 
aud  subjected  the  coasts  of  the  Adriatic  and  Egyptian  seas  to  the 
sway  of  Venice 


MODERN  OIL  PAINTINGS. 


333  A  MARANGONI.  (Ital ) 

MARCO  POLO.- 

22  X  28. 

Moderns  have  justified  the  accounts  of  the  wonderful  things  seen 
by  this  great  traveler,  which  his  contemporaries  scouted  as  huge 
fictions  He  was  the  son  of  a  Venetian  merchant,  and  born  about 
1250  His  travels  in  Asia  occupied  over  twenty  years. 


334  A.  MARANGONI  (Ital ) 

TITIAN. 

'  22  x28. 

This  is  a  copy  of  the  great  artist's  portrait  painted  by  himself.  He 
died  in  Venice  in  1576,  at  the  age  of  ninety  nine. 


335  LEMAN.  Copy 

THE  SPINNING  GIRL. 

37  X  51. 


336  Mme  LE  BRUN  (Fr.  dec’d  1842.)  Copy. 

PORTRAIT  OF  HERSELF  AND  DAUGHTER. 

36  x48 

This  artist  was  celebrated  chiefly  for  her  own  portraits,  copies  of 
which,  by  her  own  hand,  are  in  many  galleries.  The  original  of  this 
picture  is  No  82  in  the  Louvre,  Paris. 


337  READELL  Copy 

THE  GREEK  SLAVE. 

29  X  23 

338  AUGUST  RIEDEL.  Copy  by  Uliner. 

JUDITH  WITH  THE  HEAD  OF  HOLOFERNES. 

38  X  52 

When  Bethulia  a  fortifled  city  of  Judea,  was  besieged  by  the 
Assyrian  general.  Holofernes,  this  beautiful  Jewish  widow  pretended 


POWERS  ART  GALLERY. 


to  yield  to  his  advances  and  slew  him  when  in  a  heavy  sleep  from 
the  effects  of  wine  His  army  became  panic  stricken,  and  was  easily 
routed 

339  GUISEPPE  MAZZOLINI.  (Ital  )  Rome 

HARVEST  SCENE. 

20  X  24 

In  this  picture  the  dog  is  made  to  do  his  familiar  work  of  watching 
the  child,  while  the  mother  is  at  work  afield 

340  VAN  MUYDEN.  Copy 

MATERNAL  LOVE. 

20  X  24. 

341  DE  FIGLIO  (Ital  )  Florence 

ITALIAN  MOTHER  AND  CHILD. 

40  X  50. 

342  M  SCHNITZER  (Germ  dec’d  )  Mumcn 

GAME. 

30  X  24 

343  BOURLARD. 

SHEPHERD  WITH  GOATS. 

20  X  24 

344  LUDOVICO  BRUNTS  (Ital.) 

MOTHER  AND  CHILD  IN  A  STORM. 

20  X  24. 

345  ORLAFF 

SHEPHERDESS. 

20  s  24 

346  UNKNOWN 

PEASANT  GIRL  CROSSING  STREAM. 

20  X  24 


MODEEJs"  OIL  PAIis^TIis-GS. 


347  CORREGGIO.  Copy 

CUPID  SHARPENING  HIS  ARROWS. 

13x11. 

The  original  of  this  is  a  water-color,  by  Correggio,  in  the  Borghese 
Gallery,  Rome. 


348  A.  VOGT.  (Amer.  dec’d.)  Boston. 

LANDSCAPE  AND  CATTLE. 

52  X  34. 

This  is  an  unfinished  picture,  but  the  painting  of  the  cattle  is  well 
advanced,  and  shows  the  artist  to  have  been  an  able  and  painstaking 
worker  in  this  field  of  art. 


349—350  A.  TENSFELD.  (Amer.)  Chicago. 

TWO-PORTRAITS. 

30  X  36. 

There  is  a  good  deal  of  promise  in  these  canvasses,  although  the 
coloring  is  somewhat  hard  and  cold. 


351  ACHILLE  LEONARDI.  (Ital.)  Rome. 

PURITY  WHIPPING  CUPID. 

38  X  54. 

This  emblem  of  purity  crowned  with  lilies,  looks  as  much  in 
earnest  as  if  she  had  good  cause  of  complaint  against  the  little  blind¬ 
fold  archer. 


352  RIDEL. 

BATHING  GIRL. 

51  X  75. 

Original  in  a  private  gallery  in  Rome. 


POWEBS"  ART  GALLERY. 


353 


THE  RETREAT  FROM  MOSCOW. 

24  x30. 


Copy  of  a  celebrated  painting  in  Europe. 


354  J.  RYK. 

A  COUNTRY  SCENE  IN  HOLLAND. 

32  x  42. 

The  Dutch  farmer  contentedly  contemplating  his  flocks  and  herds. 


355  SIGISMOND  HOLBEIN.  (Germ.)  Augsburg. 

THE  HEAD  OF  AN  OLD  MAN. 

14  X  18. 

A  study. 


356  KARL  F.  TRAUTMAN.  (Germ.) 


Bom  at  Breslau,  in  1804. 

AN  OLD  PORTRAIT. 
10  X  14. 


357  L.  KNAUS.  (Germ.)  Berlin. 

PORTRAIT. 

11  X  14. 

Painted  thirty  years  ago,  when  Knaus  was  a  pupil  in  the  Dussel- 
dorf  Academy. 


358  TH^iODORE  ROSSEAU.  (Dec’d.) 

Born  at  Paiis,  1812.  Pupil  of  Guillon-Lethiere.  First  Exhibited,  Salon, 
1834.  Medals,  1834, 1849  and  1855.  Legion  of  Honor,  1852.  One  of  the  eight 
Grand  Medals  of  Honor,  Exposition  Universdle,  Paris,  1867.  Died,  1867. 
Diploma  to  the  memory  of  deceased  artists,  1868. 

LANDSCAPE. 

11  X  14. 

No.  38  from  the  Seney  collection.  ' 


MODERN  OIL  PAINTINGS. 


359  J.  B.  C.  COROT.  (Fr.  dec’d.) 

Medals,  Paris,  1838,  1848, 1855, 1867  {Exposition  UniverseUe).  Legion  of  Hon¬ 
or,  1846.  Officer  of  the  same,  1867.  Died,  1875.  Diploma  to  the  Memory  of 
Deceased  Artists,  1878. 

THE  VILLAGE  CHURCH. 

13  X  18. 

No.  213  from  the  Seney  collection. 


360  JEAN  G.  VIBBERT.  (Fr.) 

Born  at  Paris,  1840.  Pupil  of  I’Ecole  des  Beaux  Arts,  and  of  Barrias,  Paris. 
Medals,  Paris,  1864, 1867, 1868, 1878  (Exposition  UniverseUe).  Legion  of  Honor,. 
1870. 

INSPECTING  THE  FORT. 

20  X  30. 

No.  134  from  the  Seney  collection. 


361  JEAN  LI:0N  gMoME.  (Fr.) 

Born  at  Vesoul,  France,  1824.  Went  to  Paris  in  1841,  and  entered  the 
studio  of  Paul  Delaroche,  at  the  same  time  following  the  course  of  I’Ecole 
des  Beaux  Arts.  In  1884  he  accompanied  Delaroche  to  Italy.  He  made  his 
dehut  at  the  Salon  of  1847.  In  1853  and  1846  he  traveled  in  Egypt  and  Turkey, 
studying  closely  the  history  and  customs  of  those  countries.  Medals,  Paris, 
1847, 1848,  1855  (Exposition  UniverseUe).  Medal  of  the  Institute,  1865.  Medal 
of  Honor,  Exposition  UniverseUe,  1867.  Medals  of  Honor,  1874.  Medal  for 
Sculpture,  and  one  of  the  eight  Grand  Medals  of  Honor,  Exposition  Univer- 
selle,  1878.  Legion  of  Honor,  1855.  Officer  of  the  same,  1867.  Commander, 
1878.  Chevalier  of  the  Ordre  de  I’Aigle  Rouge  and  member  of  the  Institute 
of  France  (1878) ,  Professor  in  l’^lcole  des  Beaux  Arts. 

“  Horace  Vernet  said  of  Gerome,  that  he  saw  his  picture  finished  before 
he  touched  the  canvas.  This  prevision  is  a  rare  gift.  ♦  ♦  ♦  Gerome 

appears  to  have  attained  the  moment  of  Ufe  in  which  the  artist  seems  to 
have  nothing  to  demand  of  the  gods  but  that  they  will  preserve  intact, 
the  gifts  they  have  made  him.”— Ch.  Timbal,  Gazette  des  Beaux  Arts. 

THE  SENTINEL  AT  THE  SULTAN’S  TOMB. 

28  X  23. 

No.  276  from  the  Seney  collection. 


powers’  art  gallery. 

362  N.  V.  DIAZ.  (Dec’d.) 

Born  at  Bordeaux,  1807.  His  parents  were  banished  from  Spain  on  ac¬ 
count  of  political  troubles,  and  at  ten  years  of  age  Diaz  was  left  an  orphan 
in  a  strange  country.  At  fifteen  years  of  age  he  was  apprenticed  to  a  maker 
of  porcelain,  where  his  talent  first  displayed  itself.  He  quarrelled  with  and 
left  his  master,  and  subsequently  spent  several  years  in  bitter  poverty. 
After  his  ability  as  a  most  wonderful  colorist  was  recognized,  Diaz  painted 
and  sold  many  pictures,  working  even  too  constantly,  as  if  endeav’oriiig  by 
the  accumulation  of  a  vast  fortune,  to  avenge  the  poverty  of  his  youth. 
Medals,  1844, 1846,  1848.  Legion  of  Honor,  1851.  Died,  1876.  Diploma  to  the 
Memory  of  Deceased  Artists,  Exposition  TJniverselle,  1878. 

“Versatile,  unequal,  impetuous  Diaz  I  A  brilliant  colorist  by  blood. 
Charming  in  his  genre  landscape  motives,  in  which  he  introduces  little  chil¬ 
dren,  lovely  women  or  classical  nymphs,  or  whatever  affords  him  scope 
for  his  rich  flesh  tints  in  contrast  with  magnificently  colored  draperies  on 
the  rich,  deep  greens  and  brows  of  vegetation.’’— Jams,  Art  Thoughts, 

FOREST  OF  FONTAINEBLEAU. 

30  X  39. 

No.  279  from  the  Seney  collection. 


363  JIMENEZ  Y  ARANDA  (J)  Paris. 

Pupil  of  Academy  of  Seville. 

A  SPANISH  PHARMACY. 

23  X  36. 

No.  150  from  the  Seney  collection,  1882. 

364—365  ARNOLDO  TAMBURINI.  (Ital.)  Florence. 

TWO  OLD  MONKS  PLAYING  CARDS. 

Companion  pieces,  “A  Good  Hand”  and  “Hard  Luck.”  Both 
faces  tell  their  ovs^n  story. 


366  F.  A.  BRIDGMAN.  (Amer.) 

Pupil  of  Gerome. 

AFTERNOON  HOURS. 

37  X  26. 


Paris. 


From  Mary  J.  Morgan  collection. 


MODEEN’  OIL  PAINTINGS. 


367  VACSLAV  BROZIK.  (Bohemian.) 

Pupil  of  Fine  Arts  at  Prague,  and  of  Piloty.  Med.  Seed,  at  the  Salon 
of  1878. 

FALCONER’S  RECITAL. 

56  X  37. 

From  Mary  J.  Morgan  collection. 


368  WILHELM  LINDERSCHMIT.  (Ger.) 

Professor  at  the  Royal  Academy  of  Munich  and  member  of  the  Academy 
of  Berlin.  Historical  painter. 


LUTHER  AND  THE  REFORMERS  AT  MARBURG  1529. 

79x55 


From  Morgan  collection. 


369  J.  SCALBERT.  (Fr.) 

Salon  exhibition  1885. 

JUST  A  PEEP.  An  Unwelcome  Guest. 

22  X  31. 


Paris. 


370  HANS  MAKART.  (Ger.  dec’d  1884)  Vienna. 

Professor  at  Vienna.  Member  of  the  Munich  Academy.  Studied  at  the 
School  of  Piloty.  Medal  at  Philadelphia. 

A  STUDY. 

12x  16. 

371  MIHALY  MUNKACSY.  (Hungarian)  Paris. 

Pupil  of  Knaus.  Medals  in  1870  and  1874. 

FEEDING  THE  FAVORITE. 

41  X  32. 

From  Gov.  Morgan  collection. 

372  BRUCK  LAJOS.  (Hungarian)  Paris. 

Pupil  of  M.  Munkaesy.  Honorable  mention  Paris  Salon. 

INVESTIGATING  THE  LUNCH-BASKET. 

24  X  30. 


POWERS  ART  GALLERY. 


373  F.  MIRALLES.  (Fr.) 

Salou  1885, 

RECREATION. 

20  X  25. 

374  GABRIEL  MAX.  (Ger.) 

SISTER  AGNES.  Spanish  Nun. 
8x10. 


Paris. 


Munich. 


375  J.  G.  VIBERT.  (Fr.)  Paris. 

Born  at  Paris  1840.  Pupil  of  I’Ecole  des  Beaux  Arts,  and  of  Barrias,  Paris. 
Medals  Paris  1864,  1867,  1868,  1878.  (Exposition  Universelle.)  Leg'ion  of 
Honor  1870. 

TRIAL  SERMON. 

8  X  7.  * 


*  Note. — The  remaining'  numbers  up  to  four  hundred  and  fifty  have  been 
reserved,  to  allow  for  the  uture  growth  of  the  gallery. 


Modern  Water  Colors. 


450  ZAMPIGHI.  (Ital.)  Tangiers.. 

THE  GUN  MAKER  OF  TANGIERS. 

20  X  29. 

451  FALAT.  (Germ.)  Munich. 

PORTRAIT. 

13  X  17. 

452  F.  FASCE.  (Span.)  Valencia. 

A  BIRD  THAT  CAN  SING,  &c. 

30  X  21. 

The  admirers  of  this  kitchen  beauty  are  trying  to  coax  a  song  from 
her.  This  is  a  spirited,  well  colored  composition,  in  which  the  story 
is  effectively  told. 


453  A.  DE  GROSSI.  (Ital.)  Genoa. 

Gold  Medals  at  Milan  1879,  Naples  1880. 

THE  JOLLY  CAVALIERS. 

30  X  22. 

xA  very  fine  example  of  this  celebrated  artist’s  best  work. 


454  G.  EWING.  (Amer.)  Rome. 

A  BIT  OF  CONFIDENCE. 

'  21  X  29. 


455  E.  ASCENZI.  (Ital.)  Rome. 

CAVALIER  AND  PEASANT. 

20  X  29. 


MODERjq-  WATER  COLORS. 


456  C.  H.  CHAPIN.  (Amer.) 

New  York 

MOOSE  LAKE,  ADIRONDACKS. 

29  X  17. 

457  ARTZ.  (Dutch.) 

The  Hague. 

GATHERING  WILD  FLOWERS. 

9  X  14. 

458  SIMEONI.  (Ital.) 

Florence. 

CAVALIER  AND  JESTER. 
15x^1. 

459  C.  CORRIDINI.  (Ital.) 

THE  CARDINAL’S  ANTE-ROOM. 

25  X  19. 

Rome. 

460  M.  GARCIA.  (Span.) 

Tangiers. 

THE  MOORISH  DOCTOR. 

21  X  29. 

461  LOUIS  APEL. 

RIVER  SCENE. 

17x  11. 

462  JOS.  BENLURIA.  (Span.) 

Tangiers. 

THE  PICADOR’S  REWARD. 

14x21. 

463  L.  GABANI.  (Ital.) 

Tangiers. 

MOORISH  PRISONERS. 

19  X  25. 

464  E.  NARDI.  (Ital.) 

Rome. 

THE  FAVORITE  AIR. 

18  X  24. 

POWERS'  ART  GALLERY. 


465  A.  RENSHAW.  (Eng.) 


London. 


FEMALE  PORTRAIT. 

16  X  20. 


466  A.  RENSHATT.  (Eng.) 


London. 


FEMALE  PORTRAIT. 

16  X  20. 


467  WISSEXBROCH. 

SUMMER  DAY  ON  NORTH  COAST. 

21  X  14. 

468  UNKNOWN. 

CUPID  SHARPENING  HIS  ARROWS. 

13  X  11. 

Imitation  of  Corregio’s  water-color  in  the  Borghese  Gallery",  Rome. 

469  A.  LEONARDI.  (Ital.)  Rome. 


THE  LITTLE  ST.  JOHN. 

9  X  12. 


470  GAMLA.  (Ital.) 


Rome. 


GATHERING  WILD  FLOWERS. 

8x19. 


471  WATT. 


CHILDREN  IN  MEADOW. 

8  X  11. 


472  MARIE  TEN  KATE.  (Dutch.) 

THE  LITTLE  BOATMEN. 
20  X  13. 


The  Hague. 


MODERI^  WATER  COLORS. 


473  LOCKHARDT. 

BOY  WITH  REEDS  AND  FLOWERS. 

10  X  14. 

474  E.  SIMONETTI.  (Ital.) 

LOVE’S  INTRIGUES. 

14  X  20. 

475  REMBRANDT.  (A  Sketch.) 

THE  HOLY  FAMILY. 

7x9. 


Rome. 


476  F.  PERLBERA. 


VIEW  OF  VESUVIUS. 
11  X  7. 


Munich. 


Paris. 


477  A.  CABANEL.  (Fr.) 

LA  REINE  D’  AMOUR. 

The  Queen  of  Love. 

7x9. 

From  this  sketch  was  painted  the  picture  now  in  possession  of  the 
Emperor  of  Russia. 


478  UNKNOWN. 


GIRL  SKETCHING. 

14  X  20. 


479  J.  B.  GREUZE.  (Fr.  dec’d.) 

THE  MILKMAID. 

7x9. 

The  above  perfectly  authenticated  sketch  is  by  one  of  the  greatest 
French  painters  of  the  last  century. 


480  A.  LEONARDI.  (Ital.)  Rome. 

TEMPLE  OF  VESTA,  ROME. 

12  X  8. 


POWERS  ART  GALLERY. 


481  A.  PECQUEZADO. 

STREET  STUDY. 

20  X  28. 


482  UNKNOWN. 

FETE  CHAMPETRE. 

13  X  10. 

483  UNKNOWN. 

A  COUNTRY  PARTY. 

13  X  10. 

484  MARIE  TEN  KATE.  (Dutch.)  The  Hague. 

Member  of  the  Hague  Academy.  Gold  Medals  at  Antwerp,  Amsterdam 
and  Ghent. 

THE  RUSTIC  CRITICS. 

18  X  12. 

485  HENRIETTA  RONNER.  (Eng.)  London. 

PUSSY  HUNTING. 

18  X  22. 

486  G.  SIMEONI.  (Ital.)  Florence. 

WAITING  FOR  THE  BEY. 

28  X  20. 

487  F.  PERLBERA.  Munich. 

CASTLE  IN  NUREMBERG. 

17  X  23. 

488  F.  PERLBERA.  Munich. 

PORTAL  IN  ROTHENBURG. 

17  X  23. 


489  V.  DE  BONFIELD. 

WINTER  SCENE. 
17  X  11. 


MODERI^-  WATER  COLORS. 


490  R.  SAYER. 

GIRL  WATERING  PLANTS. 

6x9. 

491  H.  FARRER.  (Amer.) 

LANDSCAPE. 

7x9. 


492  R.  SAYER. 

BOYS  BIRD  CATCHING. 

6x9. 


493  UNKNOWN. 

COUNTRY  SCENE. 

16  X  10. 

494  AHMEHRU. 

LADIES  SURPRISED  BY  SNAKE. 

13  X  10. 


'495  A.  DOLL.  (Germ.) 

COURT  YARD. 

10x11. 


496  UNKNOWN. 

CAVALIER  AND  LADY. 

12  X  10. 


497  R.  PERLBERA. 

CLOISTER  IN  MAALBRONN. 

17  X  23. 


498  UNKNOWN. 

LADIES  IN  GARDEN. 

10  X  13. 


New  York. 


Munich. 


Munich. 


powers’  art  gallery. 

499  UNKNOWN. 

ODD  PAPERS. 

17  X  12. 

500  R.  SAYER. 

RIVER  SCENE. 

6x9. 


501  J.  KEVER. 

Pupil  of  Josef  Israels. 

THE  EVENING  MEAL. 

21  X  14. 

An  extraordinarily  good  acquarelle. 


502  R.  SAYER. 

BOY  FISHING. 

6x9. 

503  ROBERTI.  (Ital.) 

THE  YOUNG  VIOLINIST. 

11  X  7. 

504  S.  SIMEONI.  (Ital.) 

HAREM  INTERIOR. 

7x  10. 

505  H.  FARRER.  (Amer.) 

BLOSSOMS. 

6  X  10.* 


The  Hague, 


Florence, 


Florence. 


New  York. 


MODERK  WATER  COLORS. 

506  CORRODI.  (Ital.) 

1874. 

APPIAN  WAY. 

25  X  17. 

From  Mary  J.  Morgan  collection. 

507  CORRODI. 

1874. 

VICO. 

27  X  18. 

From  Mary  J.  Morgan  collection. 

508  CORRODI. 

1874. 

CAPRI. 

25  X  17. 

From  Mary  J.  Morgan  collection. 

509  CORRODI. 

1874. 

AMALFI. 

25  X  17. 

From  Mary  J.  Morgan  collection. 

510  CORRODI. 

1874. 

LAKE  THUN. 

25  X  17. 

From  Mary  J.  Morgan  collection. 

511  CORRODI. 

1874. 

BAY  OF  BAIEA. 

27  X  18. 


Rome. 


Rome. 


Rome 


Rome. 


Rome. 


Rome 


From  Mary  J.  Morgan  collection. 


powers’  art  gallery. 


512  CORKODI.  Rome. 

1374. 

ROMAN  AQUEDUCT. 

25  X  17. 

From  Mary  J.  Morgan  collection.* 


*  Note.— The  remaining  numbei-s  up  to  five  hundred  and  fifty  have  been 
reserved  for  the  future  growth  of  the  gallery. 


Old  Oil  Paintings. 

Originals  and  Copies. 


55 1  BARTOLOM^I  ESTEBAN  MURILLO.  Pilas. 

(Span.  1613-1685.) 

MADONNA  AND  CHILD. 

40  X  60. 

Original  (No.  40)  in  the  Pitti  Gallery,  Florence.  It  is  called  the 
“Virgin  of  the  Napkin,”  from  the  fact  that  it  is  said  to  have  been 
painted  by  Murillo,  on  a  napkin,  tendered  to  him  as  a  canvas  by  the 
cook  of  the  Convent  de  la  Merced,  Madrid,  who  begged  for  some 
artistic  memento  of  him. 

552  CARLO  DOLCI.  (Ital.  1616-1684.)  Florence. 

VIRGIN  IN  ADORATION. 

28  X  38. 

Original  in  the  gallery  of  the  Corsini  Palace,  Rome.  The  Virgin 
is  represented  in  ecstatic  adoration  of  the  divinity  of  her  son.  It  is 
one  of  the  best  works  of  this  great  painter. 

553  RAPHAEL  SANZIO.  (Ital.  1483-1520)  Urbino. 

THE  SISTINE  MADONNA. 

42  X  56. 

Original  in  the  Royal  Gallery,  Dresden.  Copied  by  Theodore 
Schmidt,  director  of  that  gallery,  whose  leisure  time  it  occupied  for 
five  years.  As  a  copy,  it  is  as  near  perfection  as  may  be.  It  is  the 
third  ever  made  from  the  original,  which  was  the  last  picture  wholly 
finished  by  Raphael.  It  was  painted  to  be  carried  as  a  banner  in 
processions,  for  the  monks  of  the  Convent  of  St.  Sisto,  Piacenza.  It 
was,  however,  made  an  altar  piece  in  the  church,  where  it  remained 
more  than  two  hundred  years.  In  1730  it  was  bought  for  the  Dresden 
Gallery,  The  picture  is  called  the  Sistine  Madonna,  because  in  it  St. 
Sisto  (Sixtus),  the  patron  saint  of  the  convent,  is  on  the  Virgin’s  left 
hand.  St  Barbara  is  on  the  right. 


powers’  art  GALLfkY. 


554  TITIAN  (Tiziano  yecellio,  1497-1576).  Cadore  (Friuli) 

MARY  MAGDALENE. 

27  X  34. 

Original  (I~o.  67)  in  the  Pitti  Palace  Gallery,  Florence.  Mary 
Magdalene  is  here  represented  with  the  alabaster  box  containing  the 
precious  ointment,  which  (according  to  Matthew  xxvi,  7)  she  poured 
on  Christ’s  head  as  he  sat  at  meat.  The  disciples  complaining  that  it 
“  might  have  been  sold  for  much,  and  given  to  the  poor,”  Christ  said: 
“For  in  that  she  poured  this  ointment  on  my  body,  she  did  it  for  my 
burial  *  *  .  Wheresoever  this  gospel  shall  be  preached  in  the 

whole  world,  there  shall  also  this,  that  this  woman  hath  done,  be 
told  for  a  memorial  of  her.” 


555  BARTOLOMI:  ESTEBAN  MURILLO.  Pilas, 

(Span.  1613-1685.) 

THE  ANNUNCIATION. 

38  X  46. 

The  angel  is  represented  as  saluting  the  virgin  with  the  words 
“Hail,  thou  that  art  highly  favored,  the  Lord  is  with  thee:  blessed 
art  thou  among  women,  etc.  (Luke  i,  28).  Few  of  Murillo’s  paintings 
surpass  this  one.  The  original  is  in  the  royal  gallery  at  Madrid. 


556  RAPHAEL  SANZIO.  (See  No.  553.) 

ST.  CECILIA. 

44  x  74. 

Original  in  the  gallery  of  the  Academy  of  Fine  Arts,  Bologna. 
The  saint  is  represented  with  a  “regal”  in  her  hands,  wrapt  in 
ecstacy  at  the  heavenly  music  she  hears.  Beginning  on  the  left,  are 
the  four  patron  saints  of  Bologna:  St.  Paul,  St.  John,  St.  Augustine 
and  Mary  Magdalene. 

St.  Cecilia,  having  embraced  Christianity  with  her  father,  a  Roman 
noble,  in  the  third  century,  on  refusing  to  sacrifice  to  the  gods,  was 
thrown  into  boiling  water,  from  which  the  legend  says  she  came  out 
unscathed.  Being  sentenced  to  be  beheaded,  the  executioner’s  heart 
failed  him,  and  his  trembling  hand  inflicted  three  wounds  in  the 
saint’s  neck  and  breast,  without  killing  her.  She  survived  three 
days.  She  was  buried  near  her  husband,  who  suffered  martyrdom 
before  her. 


OLD  OIL  PAINTINGS 


557  RAPHAEL  SANZIO.  (See  No.  555.)  Copy  by  Uliner. 

HOLY  FAMILY. 

42  X  52. 

Original  (No.  534)  in  the  old  Royal  Pinakothek,  Munich.  The 
group  comprises  the  virgin,  the  child  Jesus,  the  infant  John  the  Bap¬ 
tist,  and  Joseph.  This  is  an  uncommonly  fine  copy. 

558  UNKNOWN.  Copy. 

VIRGIN  OF  THE  ROSARY. 

40  X  56. 

559  CARLO  DOLCI.  (See  No.  552.) 

THE  ARCHANGEL  GABRIEL. 

22  X  27. 

Original  in  the  Feroni  Collection,  Ufflzi  Gallery,  Florence. 

The  archangel  bears  in  his  hand  the  lily,  the  emblem  of  purity.  In 
many  pictures  of  the  “Annunciation  ”  by  the  old  masters,  the  celestial 
messenger  is  painted  with  this  emblem,  typical  of  the  spotlessness  of 
her  to  whom  he  announced  the  tidings  that  she  was  to  be  the  mother 
of  the  Messiah. 

560  GIOVANNI  BATTISTA-  SALVI.  Sassoferrato. 

(Sassoferrato,  1606-1685.) 

MATER  DOLOROSA. 

21  x28. 

Original  (No.  191)  in  the  Uffizi  Gallery,  Florence. 

The  above  title,  meaning  the  “  Sorrowing  Mother,”  is  applied  to 
the  virgin  when  contemplating  the  sufferings  of  her  son,  and  is  prob¬ 
ably  borrowed  from  the  ecclesiastical  poem,  the  first  fine  of  which 
ends  with  those  words,  and  which  is  known  all  over  the  world 
through  Rossini’s  incomparable  music.  This  is  a  good  copy. 

561  RAPHAEL  SANZIO.  (See  No.  553.) 

THE  TRANSFIGURATION. 

43  X  43. 

Original  in  the  Vatican,  at  Rome. 

This  is  considered  Raphael’s  masterpiece.  At  the  foot  of  the 
mountain  is  a  multitude,  among  whom  are  the  disciples  trying  to  cast 


powers’  art  gallery. 


an  evil  spirit  out  of  a  boy.  On  the  mountain,  Christ  is  transfigured 
before  Peter,  James  and  John,  whom  he  took  apart  on  that  occasion. 
It  has  been  strenuously  contended,  and  even  unconditionally  affirmed, 
that  Raphael  only  painted  the  upper  half  of  this  picture.  There  does 
not  appear  to  be  conclusive  ground  for  such  an  assumption.  Raphael 
did  not,  it  is  true,  live  to  entirely  complete  it,  the  few  parts  remaining 
unfinished  at  his  death  having  been  painted  by  his  pupil,  Giulio 
Romano,  but  the  weight  of  evidence  is  greatly  on  the  side  or  Raphael 
having  designed  the  whole  picture  as  it  is,  and  having  painted  all  but 
a  few  subordinate  parts  of  it. 


562  CARLO  DOLCI.  (See  No.  552.) 

MARY  MAGDALENE. 

21  X  28. 


See  Explanation  to  No.  554. 


563  MICHAEL  ANGELO  BUONAROTTI-  Anezzo. 

(1474-1563.) 

THE  THREE  FATEL. 

25  X  32. 

Original  (No.  113)  in  the  Pitti  Palace  Gallery,  Florence.  These 
three  sinister  looking  crones  are  the  three  sisters  supposed  by  the 
ancients  to  control  the  thread  of  human  existence.  The  one  holding 
the  distaff  is  Clotho,  the  presiding  Fate  of  births;  the  one  twisting 
the  thread  between  her  fingers  is  Lachesis,  the  controller  of  the  course 
of  human  life ;  the  third,  ready  to  cut  the  thread  with  the  scissors,  is 
Atropos,  the  inevitable.  They  had  places  consecrated  to  them  all 
through  Greece,  at  Sparta,  Ol^unpia,  Thebes,  Corinth,  etc. 


564  CRISTOFANO  ALLORI.  (Bronzino,  1577-1621.)  Florence. 

ST.  JULIAN’S  HOSPITALITY. 

46  x  60. 

Original  (No.  41)  in  the  Pitti  Palace  Gallery,  Florence.  This  is  the 
finest  canvas  of  a  painter  whose  works,  owing  to  his  love  of  pleasure, 
are  extremely  rare.  Copies  of  such  paintings  as  he  left  are,  however, 
to  be  found  all  through  Italy,  the  work  of  his  scholars  Certosini, 
Bruno.  Tanteri  and  others.  The  legend  which  forms  the  basis  of 
this  superb  composition  is  that  Julian,  the  scion  of  a  noble  house. 


OLD  OIL  PAINTINGS. 


while  hunting  a  deer  one  day,  was  addressed  hy  the  animal  and  told 
that  he  would  cause  the  death  of  his  father  and  mother.  He  fled 
from  his  country,  and  married  abroad.  In  their  search  to  find  their 
son,  •  his  parents  happened  upon  the  very  house  in  which  he  was 
living,  and,  in  his  absence,  were  received  by  his  wife.  On  his  return, 
entering  their  sleeping  apartment  which  was  but  dimly  lighted,  he 
supposed  himself  dishonored  by  his  wife,  and  killed  both  his  father 
and  mother.  Discovering  the  horrible  truth,  to  expiate  his  crime  he 
built  a  hospital  beside  a  mountain  ferry,  and  himself  tended  way¬ 
farers.  He  one  day,  according  to  the  legend,  received  an  angel, 
under  the  guise  of  a  leprous  youth,  who  announced  his  coming  death. 
Shortly  after  both  he  and  his  wife  died. 

565  RAPHAEL  SAHZIO.  (See  No.  553.) 

THE  MADONNA  DELLA  SEDIA. 

The  Madonna  of  the  Chair. 

28  X  28. 

Original  (No.  79)  in  the  Pitti  Palace  Gallery,  Florence.  This  copy 
is  the  exact  size  of  the  original.  The  frame  is  also  the  precise  counter¬ 
part  of  that  which  holds  the  original  picture.  This  is  one  of  the  most 
universally  known  of  all  Raphael’s  works.  A  pretty  tradition  attaches 
to  this  picture.  It  is  to  the  effect  that  a  certain  old  hermit,  whose 
retreat  was  in  the  mountains  near  Florence,  grateful  to  a  certain  vine 
dresser  and  his  daughter  for  their  kindness,  and  more  especially  for 
their  having  saved  him  at  the  time  of  a  flood,  during  ’^yhich  he  was 
perched  starving  in  a  favorite  old  oak  for  three  days,  blessed  the 
daughter  and  predicted  her  future  celebrity.  This  came  to  her  through 
Raphael,  who  in  after  years,  passing  one  day  as  she  was  sitting  near 
some  casks  made  out  of  the  old  oak  tree,  and  struck  by  the  beauty  of 
the  group  she  formed  with  her  two  boys,  sketched  them  on  the  head 
of  one  of  the  casks,  and,  on  his  return  home,  painted  the  group  now 
known  as  the  Madonna  della  Sedia. 


566  GIOVANNI  BILIVERTI.  (1576-1644.)  Florence. 

ANGEL  REFUSING  TOBIAS’  GIFTS. 

41  X  51. 

Original  (No.  202)  Pitti  Palace  Gallery,  Florence.  The  angel 
Raphael,  who,  according  to  the  Old  Testament,  had  been  the  pre¬ 
server  of  Tobias  in  circumstances  of  great  danger,  more  especially 


POWERS^  ART  GALLERY. 


in  the  matter  of  his  marriage,  is  here  shown  refusing  the  gifts  which 
the  gratitude  of  the  young  man’s  parents  induced  them  to  offer  him, 
they  being  ignorant  of  the  fact  that  he  was  an  angel.  The  latter 
disabused  them  of  their  error  and  disappeared. 

567  BARTOLOMfi  ESTEBAN  MURILLO.  (See  No.  551.) 

CHILDREN  OF  THE  SHELL. 

35  X  28. 

Original  in  the  Royal  Gallery,  Madrid.  The  angels  are  depicted  as 
ministering  to  the  little  St.  John  during  the  time  he  had  to  be  hidden 
in  the  wilderness  to  escape  the  murderous  decree  of  Herod. 


568  ANDREA  VANNUCHI.  (Del  Sarto,  1488-1530.)  Florence. 

HOLY  FAMILY. 

41  X  54. 

Original  (No.  81)  Pitti  Palace  Gallery,  Florence.  This  picture  was 
painted  for  Octaviano  De’  Medici.  The  Virgin  and  St.  Elizabeth  hold 
their  respective  sons. 


569  UNKNOWN.  Copy. 

CHRIST  AS  THE  JUDGE  OF  THE  WORLD. 

“Judex  Mundi.” 

37  X  47. 

570  UNKNOWN.  Copy  by  Azzola. 

THE  THREE  GRACES. 

62  X  58. 

Euphrosque,  Aglaia  and  Thalia,  the  daughters  of  Jove  and  Eury- 
nome,  the  goddesses  of  grace,  favor  and  gentleness.  They  are  generally 
painted  as  holding  each  other  by  the  hand  or  locked  in  each  others’ 
embrace. 

571  PAOLO  CAGLIARI  (Veronese,  1528-1588.)  Verona. 

THE  RAPE  OF  EUROPA. 

146  X  104. 

Original  in  the  Gallery  of  the  Palace  of  the  Conservator!,  at  the 
Capitol,  Rome.  The  myth  is  that  Jupiter,  under  the  form  of  a  bull. 


OLD  OIL  PAINTIilGS. 


•SO  pieasea  Europa  by  bis  beauty  and  gentleness,  that  she  mounted  on 
bis  back,  whereupon  be  made  off  and  swam  with  ber  to  tbe  Island  of 
Crete,  where  be  assumed  bis  own  form  and  made  love  to  ber. 

572  TITIAN.  (See  No.  554.) 

LA  BELLE  JARDINIERE. 

The  Beautiful  Gardener. 

24  X  43. 

Original  (No.  166)  in  tbe  old  Museum  Picture  Gallery,  Berlin. 
This  is  said  to  be  tbe  portrait  of  Titian’s  only  daughter,  Lavinia. 

573  GIOVANNI  FRANCESCO  BARBIERI.  Ferrara. 

(Guercino,  1591-1666.) 

THE  SAMIAN  SIBYL. 

24  X  43. 

Original  in  tbe  Ufflzi  Gallery,  Florence,  painted  in  1651  for  Prince 
Mathias,  one  of  tbe  Medicis.  Tbe  latin  verse  on  a  page  of  tbe  open 
book  means:  “Hail,  chaste  maiden,  who  bath  suffered  much.”  Tbe 
word  sibyl  itself  means  “  Will  or  counsel  of  God,”  and  was  tbe  ancient 
Doric  Greek  name  (Sios-Boulla),  given  to  several  prophetic  women 
whose  history  has  reached  our  times  in  the  shape  of  myths,  if  indeed 
they  ever  existed  at  all.  Tbe  Samian  sibyl  is  supposed  to  have  lived 
in  tbe  time  of  Isaiah,  on  tbe  island  of  Samos,  and  to  have  prophesied 
there. 

574  GIACOMO  ROBUSTI.  (Tintoretto,  1512-1594.)  Venice. 

REBECCA  AT  THE  WELL. 

33  X  47. 

Original  in  tbe  Gallery,  Parma.  It  is  needless  to  tell  here  tbe  story 
of  Isaac’s  wooing  of  Rebecca,  which  may  be  found  in  detail  in  tbe 
24tb  chapter  of  Genesis.  This  picture  is  supposed  to  be  by  Tintoretto. 
Tbe  copy  is  tolerable. 

575  GIOVANNI  FRAN.  ROMANELLI.  (1618-1662.)  Viterbo. 

THE  CUMCEAN  SIBYL. 

29  X  39. 

Original  in  tbe  National  Museum,  Naples.  This  is  tbe  sibyl  (See 
No.  573),  who  is  said  to  have  foretold  tbe  birth  of  Christ.  Tbe  myth 


powers’  art  gallery. 


runs  that  she  lived  over  thirteen  centuries,  in  fulfilment  of  a  request 
made  by  her  to  Apollo,  who  had  fallen  in  love  with  her  and  who 
granted  it.  She  conducted  .^Eneas  into  the  infernal  regions  and  dis¬ 
appeared  after  having  sold  Tarquin  the  Proud,  King  of  Rome,  three 
books  of  prophecy  for  the  same  price  demanded  by  her  for  the  original 
nine,  and  which  he  had  refused.  She  destroyed  them  in  threes  until 
the  King  at  last  looked  at  the  remaining  ones  and  recognized  their 
value. 

573  TITIAN  (supposed  to  be  by).  See  No.  554. 

RUTH  GLEANING. 

33  X  47. 

The  story  of  the  manner  in  which  this  lovely  young  widow  captured 
her  uncle  is  told  in  the  book  which  bears  her  name.  It  need  not  be 
repeated  here. 


577  GUIDO  RENT.  (1575-1642.)  Bologna. 

LUCRETIA,  THE  ROMAN. 

•28  X  38. 

Original  in  the  Capitoline  Gallery,  Rome.  This  Roman  matron,, 
having  been  violated  by  Sextus,  eldest  son  of  Tarquin,  King  of  Rome,- 
stabbed  herself.  This  episode  led  to  the  downfall  of  the  monarchy. 


578  GUIDO  RENI.  (See  No.  577.) 

CLEOPATRA. 

38  X  48. 

Original  (No.  173)  in  the  Pitti  Palace  Gallery,  Florence.  The  queen 
of  Egypt  is  represented  as  ending  her  existence  by  the  bite  of  an  asp, 
to  avoid  falling  into  the  hands  of  the  conquerer  of  her  Roman  lover, 
l\Iarc  Antony.  This  is  supposed  to  be  one  of  the  finest  paintings  in 
Italy. 

579  TITIAN.  (See  No.  554.) 

LA  FLORA. 

25  X  31. 

Original  (No.  626)  in  the  Uffizi  Gallery,  Florence.  This  is  a  good 
copy  of  an  exquisitel}'  beautiful  composition. 


OLD  OIL  PAINTIN^GS. 


580  ANNIBALE  CARACCI.  (1500-1609.) 


Bologna. 


THE  BANDIT  AT  LIBERTY. 

32  X  40. 

Original  in  the  Gallery  of  the  Colonna  Palace,  Rome. 


581  MICH.  AMERIGHI  ANGELO.  Caravaggio. 

(Da  Caravaggio,  1569-1609.) 

THE  BANDIT  IN  PRISON. 

32  X  40. 

Original  in  the  Gallery  of  the  Colonna  Palace,  Rome.  Both  these 
copies  are  by  Chevalier  A.  Chatelaine. 


582  GIOVANNI  BATTISTA  TIEPOLO.  (1697-1770.)  Venice. 

PORTRAIT  OF  A  VENETIAN  LADY. 

31  X  39. 

It  is  not  surprising  that  this  picture  is  attributed  to  Tiepolo,  for  it 
is  a  splendid  specimen  of  portrait  painting. 


583  JACOPO  DA  PONTE.  (II  Bassano,  1570-1592.)  Venice. 

THE  FAMILY  CONCERT. 

42  X  28. 

Original  in  the  Uffizi  Gallery,  Florence.  A  group  of  portraits  of 
the  painter’s  family.  He  himself  is  in  the  middle.  Francis  and 
Leander,  his  sons,  both  celebrated  as  painters,  are  on  either  side  of  him 
with  their  wives  and  children.  Titian  and  his  wife  are  looking  on. 


584  GERARD  HONTHORST.  Utrecht. 

(Dalle  Notti,  1592-1666  or  ’80.) 

THE  SUPPER. 

41  X  29. 

Original  (No.  148)  in  the  Uffizi  Galleiy,  Florence.  A  fair  copy  of 
a  very  good  painting  of  the  Dutch  school. 


powers’  art  gallery. 


585  SIGMAND  HOLBEIN.  (Germ.)  Augsburg, 

THE  WINE  DRINKER. 

11  X  14. 

A  good  specimen  on  panel  of  the  old  German  school.  This  is  a 
very  old  original  painting. 


586  CARLO  DOLCI.  (See  No.  552.) 

POESY. 

16  X  22. 

Original  in  the  Gallery  of  the  Corsini  Palace,  Florence.  An  alle¬ 
gorical  painting. 


587  UNKNOWN. 

SUBJECT  UNCERTAIN. 

44  X  39. 

588  POLIDORO  CALDARA  DA  CARAVAGGIO.  Caravaggio. 

(1495-1534.) 

THE  PRODIGAL  SON. 

59  X  41. 

This  is  a  we.i  preserved  and  undeniably  able  piece  of  work.  It  is 
bold  and  firm  in  treatment,  strong  and  free  in  drawing  and  brilliant 
in  coloring. 


589  ANNIBALE  CARACCT.  (See  No.  580.) 

TRIUMPH  OF  BACCHUS  AND  ARIADNE. 

84  X  44. 

Original  fresco  in  the  ceiling  of  the  great  hall  of  ttie  Farnese  Palace, 
Rome.  Copy  by  Mazzolini.  The  painting  represents  the  bridal  pro¬ 
cession  of  Ariadne,  who,  in  lieu  of  her  faithless  lover  Theseus,  mar¬ 
ried  Bacchus,  through  the  good  offices  of  Venus. 


590  UNKNOWN. 

SCULPTURE.— ALLEGORICAL. 

47  X  31. 


OLD  OIL  PAIN-TINGS. 


591  UNKNOWN. 

PAINTING.— ALLEGORICAL. 

47  X  31. 

592  UNKNOWN. 

MUSIC.— ALLEGORICAL. 

47  X  31. 

593  UNKNOWN. 

LITERATURE.— ALLEGORICAL. 

47  X  31. 

The  above  four  allegorical  pictures  would  seem  to  have  been  pre¬ 
paratory  studies,  for  larger  and  more  important  works,  by  the  same 
artist.  There  is  some  good  painting  in  them. 


594  LUIGI  BENFATTO.  (Andrea  dal  Friso.)  Verona. 

(1551-1611.) 

Nephew  and  pupil  of  Paul  Veronese. 

BATHSHEBA  AT  HER  TOILETTE. 

42  X  40. 

This  is  the  comely  wife  of  Uriah  the  Hittite,  unlawful  passion  for 
whom  betrayed  King  David  into  the  constructive  murder  of  her  hus¬ 
band. 

595  UNKNOWN. 

PASTORAL  SCENE. 

24  X  32. 

596  UNKNOWN. 

FAUNS  AND  NYMPHS  DANCING 

38  X  28. 

597  UNKNOWN.  Copy. 

MADONNA. 

29  X  37. 


powers’  art  gallery. 


598  RAPHAEL  SANZIO  (See  No.  553.)  Copy. 

MADONNA  DELLA  SEDIA. 

'  28  X  28. 


599  UNKNOWN. 

FAUNS  AND  NYMPHS  PLAYING. 

38  X  28. 


600  GHERARDO  DALLE  NOTTI  (See  No.  584.) 

CHILDREN  PLAYING  WITH  FIRE. 

38  X  29. 

601  GIOV.  BATT.  TIEPOLO  (See  No.  582.) 

FAMILY  PORTRAIT. 

33  X  39. 

602  BARTOLOMI:  ESTEBAN  MURILLO  (See  No.  551). 

BEGGAR  BOYS  PLAYING  DICE. 

32  X  52. 

This  and  the  succeding  copies  of  Murillo’s  pictures  convey  a  very 
good  notion  of  the  class  of  subjects  in  which  he  at  first  delighted,  as 
well  as  of  the  general  characteristics  of  his  drawing  and  painting  at 
the  outset  of  his  career. 


603  BARTOLOMI:  ESTEBAN  MURILLO  (See  No.  551). 

STREET  BOYS  EATING  MELON. 

32  X  52. 

604  BARTOLOME  ESTEBAN  MURILLO  (See  No.  551). 

BEGGAR  GIRLS  COUNTING  MONEY. 

32  X  52. 

605  BARTOLOME  ESTEBAN  MURILLO  (See  No.  551). 

QUEST  FOR  PARASITES. 

32  X  52. 


OLD  OIL  PAINTrXGB. 


606  BARTOLOMI:  ESTEBAN  MURILLO  (See  No.  551). 

BEGGAR  BOYS  EATING  FRUIT. 

32  X  52. 

All  the  originals  of  the  above  pictures  by  Murillo  are  in  the  old 
Royal  Pinakothek,  Munich. 


607  UNKNOWN. 

RESCUE  OF  ULYSSES. 

37  X  26. 

Neptune,  the  declared  enemy  of  Ulysses,  once  found  him  in  the 
course  of  his  long  wanderings,  on  a  raft  in  mid-ocean.  He  made 
Ulysses  swim  for  his  life  two  whole  days  and  nights,  by  raising  a 
storm  which  destroyed  his  raft.  The  luckless  hero  was  rescued  by 
Minerva  and  the  sea  nymphs,  while  Neptune  looked  on  in  disgust. 


608  ANTONIO  CANAL.  (Canaletti,  1697-1768.)  Venice. 

CHURCH  OF  S.  MARIA^DELL’  ASSOLUTA,  Venice. 

40  X  36. 


609  UNKNOWN. 

OLD  CASTLE  NEAR  ROME. 

31  X  25. 


610  UNKNOWN. 

THE  BAPTIST’S  HEAD  HANDED  TO  HERODIAS. 

44  X  40. 

Said  to  be  from  a  study  of  Leonardo  da  Vinci  by  some  old  paintei 
unknown.  This  is  bold,  strong  painting. 


611  UNKNOWN. 

FATHER  INSTRUCTING  HIS  SON. 

44  X  39. 


POWERS'  ART  GALLERY. 


612  GUIDO  RENI  (See  No.  577). 

AURORA. 

65  X  35. 

Original  fresco  in  main  hall  of  Casino,  in  the  gardens  of  the 
Rospigliosi  Palace,  Rome.  The  goddess  of  Dawn  is  strewing  flowers 
before  the  god  of  the  Sun,  whose  car  is  surrounded  hy  dancing 
nymphs. 


613  GIOVANNI  BILIYERTI  (See  No.  566). 

JOSEPH  AND  POTIPHAR’S  WIFE. 

54  x  42. 

The  episode  here  depicted  is  universally  known,  and  needs  no 
comment. 


614  UNKNOWN. 

CHRIST  HEALING  THE  SICK. 

28x20. 

Probably  a  preparatory  study  for  a  larger  picture.  An  indifferent 
piece  of  work. 


615  UNKNOWN. 

COUNTRY  SCENE.— MILKING. 

17  X  23. 


616  UNKNOWN. 

COUNTRY  SCENE.— MILKING. 


17  X  23. 

There  is  some  good  painting  in  these  two  studies. 


617  UNKNOWN. 

VENUS  BLINDFOLDING  CUPID. 

32  X  38. 


OLD  OIL  PAIKTIKGS. 


618  PETER  PAUL  RUBENS.  (1577-1640.)  Antwerp. 

PORTRAIT  OF  HIS  WIFE. 

39  X  69. 

This  is  as  good  a  copy  as  could  well  he  wished  of  this  celebrated 
portrait,  of  w^hich  the  original  is  now  in  the  Belvidere  Gallery,  of 
Vienna.  It  was  painted  by  August  Fink,  of  Munich,  and  does  the 
highest  credit  to  the  powers  of  that  artist.  For  a  copy,  it  possesses 
extraordinary  freedom  of  drawing  and  handling,  superb  flesh  paint¬ 
ing  and  gi’eat  transparency.  The  number  of  such  copies  painted  in 
our  day,  is  not  great. 

619  PETER  PAUL  RUBENS.  (1577-1640.)  Antwerp. 

CHILDREN  CARRYING  FRUIT. 

52  X  32. 

Original  (No.  263)  in  the  old  Royal  Pinakothek,  of  Munich.  Copied 
by  Uliner,  of  Munich.  A  good  copy  of  one  of  those  pictures  in 
which  the  exuberant  talents  of  Rubens  shine  in  every  detail. 

620  UNKNOWN. 

“  RESPICE  FINEM.” 

“  Look  to  the  End.” 

28  X  34. 

Female  figure,  nearly  nude,  warning  against  the  pleasures  of  the 
senses  by  pointing  to  a  skull  on  the  table  near  her,  under  which  is  the 
above  legend,  “  Respice  Finem.” 

621  UNKNOWN.  On  Panel. 

THE  RECLUSE. 

13  X  16. 

This  is  a  little  picture  the  merit  of  which  will  appear  greater  the 
more  it  is  examined.  Joined  to  great  accuracy  of  drawing  and  per¬ 
spective,  the  finish  is  astonishing  and  the  harmony  of  the  tones,  as 
well  as  the  management  of  light  and  shade,  perfect. 

622  ANTHONY  YANDYCK.  (1599-1641.)  Antwerp. 

PORTRAIT. 

24  x  30. 

A  well  painted  copy  by  Otto  Jacobi,  of  Rochester,  N.  Y. 


powers’  art  gallery. 

623  RAPHAEL  SANZIO.  (See  No.  561.) 

THE  TRANSFIGURATION. 

34  X  50. 

624  POMPEO  BATTONI.  (1708-1788.)  Lucca. 

THE  PENITENT  MAGDALENE. 

24  x44. 

Original  (No.  129)  in  the  Royal  Gallery,  Dresden.  Mary  Magdalen 
is  here  represented  in  the  cave  between  Toulon  and  Marseilles,  where 
legend  says  that  she  spent  many  years  in  expiation  of  the  faults  of 
her  early  life. 

625  BARTOLOMI:  ESTEBAN  MURILLO.  (See  No.  551.) 

THE  CONCEPTION. 

51  X  73. 

Original  in  the  Royal  Gallerj'-  of  Madrid.  Copy  by  A.  Leonardi, 
of  Rome.  This  is  a  very  fine  copy  of  Murillo’s  most  celebrated  paint¬ 
ing.  The  belief  in  the  Immaculate  Conception  of  the  Virgin — which 
means  that  she  never  incurred  the  stain  of  original  sin — was  pretty 
nearly  universal  in  the  Catholic  Church  previous  to  the  solemn  pro¬ 
mulgation  of  the  doctrine  by  Pius  IX  in  1854.  It  is  the  idea  of  her 
sinless  purity  which  3Iurillo  so  exquisitely  embodied  in  this  painting. 

626  CARLO  MARATTI.  (162.5-1713.)  Ancona. 

HOLY  FAMILY. 

51  X  63. 

Original  in  the  Corsini  Palace,  Rome.  Copy  by  Romanelli.  This 
particular  Holy  Family  is  called  “La  Yierge  aux  Cerises,’-’  “the 
Virgin  of  the  Cherries;”  Zacharias  and  Elizabeth  are  present  and  the 
angel  offering  the  fruits.  It  is  a  good  copy. 


627  TITIAN.  (See  No.  554.) 

MARTYRDOM  OF  ST.  PETER  THE  DOMINICAN. 

21  X  32. 

Original  destroyed  by  fire  in  1867  in  the  Church  of  St.  John  and 
Paul,  at  Venice.  The  Saint  was  assassinated  by  the  hired  bravos  of 
two  Venetian  noblemen,  whom  he  had  accused  of  heresy  and  whose 
property  had  been  confiscated.  This  is  a  v('ry  small  cc'.py  by  Rodoiti. 


OLD  OIL  PAIi^TINGS. 


628  FERRARI. 

LINDA  OF  CHAMOUNI. 

32  X  40. 

The  heroine  of  the  story  is  seen  bereft  of  reason,  but  returning  home 
with  her  mountaineer  lover  who  has  reached  her  heart  through  the 
songs  of  Savoy.  She  had  left  her  home  eager  to  taste  the  pleasures 
of  the  French  capital  and  had  become  the  mistress  of  a  nobleman 
there.  To  her  father’s  entreaties  she  was  deaf,  but  her  lover  was 
more  successful.  The  original  of  this  picture  is  in  a  private  collection 
in  England. 


629  After  the  Canaletto  School.  (1750.) 

THE  REGATTA,  GRAND  CANAL,  VENICE. 

43  X  30. 


630  After  TITIAN.  (See  No.  554.) 

MAGDALENE  IN  THE  CAVE. 

22  X  18. 

Compare  observations  on  No.  624. 


631  CARLETTO  CAGLIARI.  (1570-1596.)  Verona. 

Elder  son  of  Paola  Cagliari,  known  as  Paul  Veronese.  He  died  at  the  early 
age  of  26  years. 

CHARITY. 

64  X  46. 

This  is  an  exceedingly  fine  old  painting,  as  even  a  superficial  ex¬ 
amination  will  show.  The  face  of  the  female  figure  nursing  the  child 
is  of  rare  beauty,  sweetness  and  grace;  the  children  are  painted  with 
surprising  truthfulness,  freedom  and  power.  Considering  the  age  of 
this  picture,  the  fiesh  tints  must  have  been  as  near  perfection  as  possi¬ 
ble  when  it  was  first  painted.  It  is  one  of  the  best  canvases  in  the 
whole  collection. 


632  UNKNOWN. 

FAMILY  PORTRAIT. 

24  X  28. 


powers’  art  gallery. 


633  UNKNOWN. 

THE  FLIGHT  INTO  EGYPT. 

25  x35. 

Joseph  and  Mary  are  represented  as  flying  into  Egypt  to  save  the 
child  Jesus  from  the  bloody  edict  of  Herod,  which  ordered  all  the 
male  children  in  Bethlehem  of  two  years  and  under  to  be  put  to  death. 

634  GIOV.  BATT.  TIEPOLO.  (See  No.  582.) 

CLEOPATRA  DRINKING  THE  DISSOLVED  PEARL. 

60  X  49. 

The  Egyptian  queen  is  credited  with  having  dissolved  and  drunk 
a  costly  pearl  given  her  by  her  Roman  lover,  Marc  Antony.  The 
artist  has  portrayed  her  perpetrating  this  absurd  folly.  This  is  a 
very  good  example  of  Tiepolo,  the  last  of  the  great  Venetian  painters. 

635  UNKNOWN. 

CHRIST  ARPEARING  TO  MARY. 

22  X  27. 

The  Saviour  is  saying  to  Magdalene,  to  whom  he  first  appeared 
after  the  resurrection,  according  to  the  Evangelist,  ‘  ‘  Touch  me  not, 
for  I  am  not  yet  ascended  to  the  Father.” 

636  MICHAEL  ANGELO  AMERIGHI  DA  CARAVAGGIO. 

(See  No.  581.) 

ST.  SEBASTIAN. 

53  x  40. 

This  is  a  strong  example  of  this  master’s  style.  The  Saint  has  just 
been  taken  from  the  tree  to  which  he  was  bound,  and  the  arrows  with 
which  he  was  transfixed  for  his  constancy  to  the  Christian  faith  are 
being  withdrawn  from  his  body  by  Irene,  the  widow  of  one  of  his  - 
martyred  friends,  and  her  daughters.  St.  Sebastian  was  an  officer  in‘; 
the  army  of  the  Emperor  Diock-tian,  in  the  fourth  century. 

637  PIETRO  LIBERI.  (1605-1687.)  Padua. 

THE  SHOWER  OF  GOLD. 

66  X  47. 

Danae,  the  daughter  of  Acrisius,  King  of  Argos,  was  secluded  by 
the  latter,  to  forestall  the  fulfillment  of  a  prediction  by  the  oracle 


OLD  OIL  PAINTINGS. 


that  she  would  bear  a  son  who  would  kill  and  succeed  him.  A  son 
was,  nevertheless  born  to  her.  She  imputed  the  boy  to  Jupiter,  who, 
she  alleged,  descended  on  her  in  a  shower  of  gold.  The  father  had 
mother  and  son  boxed  up  and  committed  to  the  mercy  of  the  sea. 
After  many  adventures,  the  son,  Perseus,  accidentally  killed  his 
grandfather,  Accrisius,  with  a  quoit  thrown  by  him  in  the  public 
games. 


638  DELACROIX,  the  Elder.  (Ft.  dec’d.) 

French  Envoys  to  the  Pope,  at  Civita  Vecchia. 

THE  LANDING. 

73  x34. 

639  DELACROIX,  the  Elder.  (Fr.  dec’d. 

French  Envoys  to  the  Pope,  at  Civita  Vecchia. 

THE  ILLUMINATION. 

73  X  34. 

There  is  a  great  deal  of  careful  drawing  and  painting  in  these  two 
pictures,  as  well  as  an  abundance  of  incident  which  will  repay 
attentive  examination. 


640  PHILIP  ROOS.  (Rosa  da  Tivoli,  1655-1705.)  Frankfurt. 
A  celebrated  animal  painter  of  the  latter  half  of  the  seventeenth  century. 

GROUP  OF  DOGS. 

47  x  33. 

641  FRANgOIS  BUCHER.  (Fr.  1764-1768.)  Paris. 

CUPIDS  PLAYING. 

53  X  39. 

642  ANDREA  DAL  FRISO  (See  No.  594).  (1551-1611.)  Verona. 

SAUL’S  DAUGHTERS. 

53  X  40. 

“And  it  came  to  pass  as  they  came,  when  David  was  returned  from 
the  slaughter  of  the  Philistine,  that  the  women  came  out  of  all  the 
cities  of  Israel,  singing  and  dancing,  to  meet  King  Saul,  with  tabrets. 


powers’  art  gallery. 


with  joy  and  with  instruments  of  music.  And  the  women  answered 
one  another  as  thej^  played,  and  said,  Saul  hath  slain  his  thousands, 
and  David  his  ten  thousand.  ” — I  Samuel,  xviii :  6,  7. 

643  VENEZIANO  BONIFACIO.  (1474-1563.)  Venice. 

CORIOLANUS  BEFORE  ROME. 

110  X  54. 

Caius  or  Cnaeus  Marcius,  surnamed  Coriolanus,  from  his  capture 
of  the  town  of  Corioli,  made  the  people  of  Rome  his  enemies  by 
arguing  in  the  Senate  against  the  gratuitous  distribution  of  corn,  and 
by  his  generally  determined  opposition  to  the  extension  of  the  popular 
liberties.  He  had  to  fly.  Out  of  revenge,  he  headed  the  Volscian 
army,  and  by  his  victories  placed  Rome  in  the  greatest  peril.  Deaf 
to  the  entreaties  of  all  others,  he  was  moved  by  the  prayers  of  his 
aged  mother  and  his  wife,  Yolumnia,  who,  accompanied  by  the 
noblest  matrons  of  Rome,  and  his  two  children,  sought  him  in  his 
tent.  He  lead  the  Volscian  army  back  to  their  own  territory,  where 
he  lived  to  an  advanced  age.  Shakespeare  has  made  his  name  im¬ 
mortal. 

644  UNKNOWN. 

JOSEPH  AND  HIS  BRETHREN. 

140  X  60. 

Joseph,  when  ruler  of  Egypt,  had  pretended  not  to  recognize  his 
brethren  who  had  gone  thither  for  corn  during  the  •  famine.  He 
treated  them  as  spies,  held  their  brother  Simeon,  and  sent  them  back 
with  the  assurance  that  only  by  bringing  down  their  youngest  brother, 
Benjamin,  could  they  clear  themselves  of  suspicion.  This  flne  paint¬ 
ing  represents  the  second  meeting  of  Joseph  and  his  brethren.  Ben¬ 
jamin  is  being  put  forward  to  propitiate  Joseph,  with  a  portion  of 
the  presents — a  little  balm  and  a  little  honey,  spices  and  myrrh,  nuts 
and  almonds — which  their  father,  Israel,  bade  them  offer  him. 

645  VENEZIANO  BONIFACIO.  (1494-1563.)  Venice. 

THE  QUEEN  OF  SHEBA  AND  HER  TRAIN. 

114  X  60. 

This  is  the  Arabian  princess  who  was  attracted  by  Solomon’s  fame, 
and  camedo  judge  herself  of  his  much  extolled  wisdom.  Curiously 
enough,  she  professed  herself  more  than  satisfied. 


OLD  OIL  PAINTINGS. 


646  ANDREA  DAL  FRISO  (See  No.  594.) 

PROPHECY  OF  THE  SIBYL. 

54  x  40. 

On  the  proposal  of  the  Roman  Senate  to  accord  divine  honors  to 
Augustus,  the  Tiburtine  sibyl  at  Tivoli,  in  answer  to  his  question  as 
to  his  acceptance  of  them,  told  him  that  a  Hebrew  child  would  soon 
be  born  who  would  reign  supreme.  She  pointed  to  the  heavens, 
where  the  emperor  saw  the  virgin  with  her  son,  seated  on  a  throne. 
He  returned  to  Rome,  and  erected  an  altar  to  the  “  First  Born<  of 
God,”  “  Primogenito  Dei.”  Thus  runs  the  fable  which  is  the  subject 
of  this  picture. 


647  PETER  VAN  LAER.  (Bamboccio,  1613-1673.)  Laaren. 

THE  GLUTTON. 

52  X  38. 

This  repulsive  subject  is  very  strongly  painted,  and  the  brutal, 
animal  instincts  of  the  chief  actor  are  vividly  portrayed  in  his  face. 
The  subordinate  figures  of  the  servant  and  jester  are  also  well  limned. 
The  eager  cat  is  put  on  the  side  of  the  bowl  probably  to  indicate  the 
level  of  her  master. 


648  UNKNOWN. 

CERES  AND  JASON. 

33  X  40. 

Ceres  had  a  lover,  Jason,  whom  she  was  accustomed  to  meet  in  a 
“thrice-plowed  ”  field  in  Crete.  Of  these  Plutus,  the  god  of  Wealth, 
was  born.  A  very  happy,  pointed  way  of  putting  the  argument  that 
careful  agriculture  is  the  basis  of  national  wealth — an  undeniable 
proposition.  The  picture  is  strong  with  the  exception  of  Ceres’  left 
arm,  which  looks  as  though  it  had  been  repainted,  and  from  the 
elbow  down,  drawn  out  of  all  proportion. 


649  UNKNOWN. 

TWO  CUPIDS  WITH  FLOWERS. 

22  X  28. 


powers’  art  gallery. 


650  UNKNOWN.  On  Panel. 

MADONNA. 

22  X  18. 

This  Madonna  is  painted  somewhat  in  the  style  of  Angelico  da 
Fiesole,  but  is  greatly  inferior  to  the  works  of  that  artist. 


651  GIOV.  BATT.  TIEPOLO  (See  No.  582). 

FRUIT  WOMAN. 

29  X  36.  ' 

652  UNKNOWN. 

THE  FALCONER. 

120  X  62. 

A  reminiscence  of  the  days  when  hawking  was  a  fashionable  sport. 
This  is  a  very  fine,  well  preserved  oil  painting,  probably  by  one  of 
the  minor  Italian  masters,  of  the  middle  of  the  seventeenth  century. 


653  GIOV.  BATT.  TIEPOLO  (See  No.  582.) 

BRENNUS  IN  ROME. 

52  X  36. 

Brennus,  suspected  of  sharp  dealing  by  the  Romans,  at  the  weigh¬ 
ing  of  the  ransom  of  the  city,  to  be  paid  to  him  (one  thousand  pounds 
of  gold),  threw  his  sword  into  the  scale,  bidding  them  balance  that 
too.  Camillus,  the  Roman  dictator,  who  is  said  to  have  subsequently 
annihilated  the  army  of  Brennus  in  two  bloody  battles,  is  seen  heading 
the  attack. 


654  After  CANALETTO. 

GRAND  CANAL,  VENICE. 

36  X  24. 

655  JOHANNES  REI^HGIUS  LANGE.  (Flemish,  1555. 

PREPARING  FOR  THE  CARNIVAL. 

51  X  37. 


OLD  OIL  PAINTINGS. 


656  JOHANNES  REMEGIUS  LANGE  (See  No.  555). 

A  DUTCH  KITCHEN. 

51  X  37. 


657 


CANALETTI  (See  No.  608). 

THE  ARSENAL,  VENICE. 
Seaward  View. 


58  X  26. 


658—659  FRANCISCO  ZUCCARELLI  (170^1788).  Tuscany. 
TWO  LANDSCAPES. 

56  X  34. 


660  ANTHONY  V^N  DYCK.  (Flemish.) 

This  great  paimter  was  born  at  Antwerp  in  1599,  and  died  in  London  in  1664 
(see  Introduction). 

CHILDREN  OF  CHARLES  I. 

17  X  17. 

The  royal  children  whose  portraits  are  here  given  are  Charles, 
William  and  Henrietta  Maria  Stuart. 


Statuary. 


I.  Chev.  K  C.  POPOTTI.  Rome. 

LOVE’S  MIRROR. 

Cupid  is  holding  the  mirror  to  a  beautiful  girl  engaged  in  adorning 
her  hair  with  flowers,  one  of  which  she  holds  in  her  right  hand. 
Whatever  the  lesson  the  sculptor  may  have  intended  to  convey — and 
there  are  many  possible — he  has  given  us  an  attractive  group,  well 
conceived  and  proportioned,  and  executed  with  a  good  deal  of  daring. 

II.  THOMAS  GOULD.  Florence. 

THE  WEST  WIND. 

The  West  Wind  is  personifled  by  a  life-size  female  figure,  advanc¬ 
ing  through  the  air  with  speed  enough  to  throw  her  drapery  behind 
her  in  graceful  lines  and  curves.  This  is  a  difficult  subject  treated 
with  more  than  common  skill. 

III.  Chev.  K  E.  POPOTTI.  Rome. 

THE  GENIUS  OF  ART. 

The  Genius  of  Art  is  typified  by  a  beautiful  youth,  holding  in  his 
right  hand  chisel,  pencil  and  compass — the  emblems  of  art.  He  is 
seated  on  the  inverted  capital  of  a  broken  column;  his  inspired,  eager 
face  and  outstretched  wings  indicating  the  spirit  within,  which 
impels  him  to  dare  the  lofty,  perilous  flight,  to  which  the  wings  of 
genius  are  alone  equal.  This  is  a  finely  conceived  and  splendidly 
executed  work. 

IV.  WM.  COUPER.  Florence. 

MORNING. 

An  allegorical  medallion  in  which  Morning  is  represented  as  a 
charming  cherub  standing  on  a  tiny  cloud,  its  gauzy  vesture  floating 


STATUARY. 


gracefully  in  the  breeze,  while  the  resplendant  rising  sun  illumines 
the  sky.  This  is  a  beautifully  modelled  work,  refined  in  conception 
and  dainty  to  a  degree  in  execution. 


V.  WM.  COUPER.  Florence. 

EVENING. 

A  companion  medallion  to  the  foregoing,  in  which  our  little  cherub 
friend  is  represented  as  clasping  the  upper  end  of  the  moon’s  crescent 
with  the  left  hand,  while  the  right  is  engaged  in  securing  the  slender 
covering  which  partly  veils  the  body.  It  is  quite  equal  in  composition 
and  execution  to  its  companion  piece. 


VI.  WM.  COUPER.  Florence. 

FORGET  ME  NOT. 

A  bust  of  a  beautiful  child  looking  upwards  with  a  sweet  look  of 
entreaty  on  its  face.  The  title  of  the  work  is  well  chosen  and  the 
execution  is  admirable. 


VII.  THOMAS  BALL.  Florence. 

JOY. 

A  child  with  half  hesitating,  but  smiling  countenance,  as  though 
surprised  and  delighted  at  some  unexpected  gift.  A  graceful  com¬ 
position. 


VIII.  Chev.  N.  C.  POPOTTI.  Rome. 

CONFIDENCE  BETRAYED. 

Two  cupids,  one  of  whom  has  fallen  asleep.  The  other,  mean¬ 
while,  steals  the  arrows  from  the  quiver  of  his  confiding  companion. 
An  original,  felicitous  conception. 


IX.  Chev.  N.  C.  POPOTTI. 


Rome. 


THE  FLOWER  GIRL. 


POWERS'  ART  GALLERY. 


X.  UNKNOWN. 

VENUS  AT  THE  BATH. 

The  goddess  of  Love  is  represented  as  just  entering  the  water, 
which  her  foot  barely  touches,  while  she  is  on  the  point  of  discarding 
the  slender,  solitary  piece  of  raiment  which  partly  enshrouds  her 
charms.  The  conception  of  the  work  is  good. 


XI.  CuEV.  N.  C.  POPOTTL  Rome. 

THE  YOUNG  HUNTER. 

A  boy  with  a  bird  in  his  right  hand,  holding  his  eager  dog  in  a 
leash. 


XII.  N.  C.  POPOTTI.  Rome. 

SUNSHINE. 

A  female  figure  represented  as  gleaning,  with  the  newly  gathered 
ears  in  her  hand,  her  face  radiant,  and  her  whole  figure  bouyant  and 
elastic  under  the  influence  of  the  god  of  Day.  A  spirited  and  sug¬ 
gestive  composition. 


XIII.  N.  C.  POPOTTI.  Rome. 

STORM. 

A  companion  piece  to  the  foregoing.  The  face  and  attitudeiof  the 
figure  bespeak  discomfort,  if  not  absolute  pain,  in  her  struggle  with 
the  chill  blast  which  drives  so  pitilessly  against  her.  This  piece 
forms  an  excellent  contrast  to  its  companion  subject. 


XIV.  N.  C.  POPOTTI. 

BUST  OF  D.  W.  POWERS. 


Rome. 


XV.  J.  A.  JACKSON,  (dec’d.) 


Florence. 


Faw©r»*  ©©aamercial  Flre-Fir©of  HuiMtags. 


